All language subtitles for Smash.His.Camera.2010.1080p.AMZN.WEB-DL.DD.5.1.H.264-playWEB

SHOULD I LOCK THE DOOR SO THEY DON'T COME IN?

WE USUALLY LOCK THE DOOR IN THE DARKROOM.

THIS IS THE SHORTSTOP,

WHICH IS ACIDIC ACID.

IT STOPS
THE DEVELOPMENT.

IT SMELLS LIKE VINEGAR.

KODAK DEVELOPERS
PREMIXED HERE ALREADY.

NOW WE MIX PART TWO

TO ABOUT 70°.

AND I VIEW IT--

"WINDBLOWN JACKIE"--

PLACE THE NEGATIVE.

AND THEN WE BLOW
THE DUST.

DUST OFF. DUST OFF.

IN MY WHOLE CAREER
OF SHOOTING JACKIE,

WHICH IS OVER 10 YEARS,

THE BEST WEEK WAS

THIS OCTOBER WEEK
OF 1971

WHERE IN ONE WEEK
I GOT HER FIVE TIMES.

IT STARTED THE 4th.

I GOT PICTURES OF JACKIE

WATCHING CAROLINE KENNEDY
PLAYING TENNIS.

THE AGENTS GOT IN MY WAY,
SORT OF.

AND THEN JACKIE
ALL OF A SUDDEN TOOK OFF

INTO THE FIELDS
OF CENTRAL PARK.

AND SHE GAVE ME
A WORKOUT.

LUCKILY, I KEPT UP
WITH HER.

I GOT HER CROSSING
THE STREET HERE--

ONE OF MY GREAT SHOTS.

IN FACT, IT SOLD
SEVERAL TIMES.

THEN THE 5th--
I GOT JACKIE

SHOPPING
AT BONWIT TELLER'S--

ALL THE WAY FROM HER
APARTMENT, COMING OUT;

AND ANOTHER ONE
OF MY GREAT SHOTS

THAT RAN IN SEVERAL BOOKS--
MY BOOK,

BUT ALSO RAN
IN GUCCI'S BOOK

BECAUSE SHE'S WEARING
HER GUCCI BAG.

AND THE SAME DAY,
THE 5th,

I GOT HER EARLIER
IN THE AFTERNOON

WHEN SHE PICKED UP
CAROLINE AT SCHOOL

AND THEY WENT SHOPPING.

AND I GOT ONE
OF THE AGENTS BLOCKING ME THERE.

THAT WAS THE 5th.

THE FOLLOWING DAY
I GOT JACKIE AGAIN

AT THE CORNER OF 85th
AND FIFTH,

ABOUT TO CROSS.

AND THEN I COVERED
OTHER EVENTS.

AND THEN OF COURSE
THE 7th WAS MY GREAT DAY

WHEN I GOT
THE "WINDBLOWN JACKIE,"

WHICH I CALL
"MY MONA LISA."

A MODEL NEEDED
PORTFOLIO PICTURES.

AND SHE LIVED
ON 88th STREET.

SO I PICKED HER UP, SAID,
"LET'S GO TO THE PARK HERE."

I PHOTOGRAPHED HER
IN THE PARK.

HER NAME WAS
JOYCE SMITH.

ON THE WAY OUT
WE GO TO THE CORNER, WE CROSS THE STREET,

AND THERE'S JACKIE
COMING OUT OF THE SIDE DOOR,

WALKING TOWARD
MADISON AVENUE.

SHOULD I FOLLOW HER

AND GRAB PICTURES
OF HERE THERE?

"NO," I SAID,
"GET IN THE CAB."

FOR $2
I CAUGHT UP TO HER,

SHOT TWO SHOTS
OF HER PROFILE.

WHEN THE TAXI DRIVER
BLEW HIS HORN,

SHE TURNED

AND I GOT MY GREATEST SHOT--
"JACKIE WINDBLOWN."

I CALL THAT
"THE MONA LISA SMILE."

I DON'T THINK SHE KNEW
IT WAS ME.

THAT'S WHY
SHE SMILED A LITTLE.

IN CERTAIN PRIMITIVE
TRIBES, WE'RE TOLD,

THE NATIVES HAVE A HORROR
OF BEING PHOTOGRAPHED.

THEY FEAR
THE PHOTOGRAPHER

WILL STEAL
THEIR VERY SOULS.

ACTUALLY, THERE'S A TRIBE
RIGHT HERE IN AMERICA

THAT FEELS
THE SAME WAY.

THIS IS WHERE
KATHERINE HEPBURN LIVES.

AND OVER HERE IS WHERE
RON GALELLA

IS STAKED OUT
IN THE RAIN.

THAT'S HIS WIFE BETTY
HOLDING THE UMBRELLA.

THE HOUSE
IS SURROUNDED

BY A THICK 8' HEDGE.

A PAPARAZZO NEEDS
A VIEWPOINT.

AND WE HAVE TO
CREATE IT SOMETIMES.

DON'T DO TOO MUCH, RON, PLEASE.

GALELLA'S GARDENING BACKFIRES.

THE CHAUFFEUR
QUICKLY STARTS THE CAR.

ALERT.

GALELLA SENSES THAT SOMETHING
IS ABOUT TO HAPPEN.

HE'S RIGHT.

THE CHAUFFEUR
HAS PULLED THE CAR

BETWEEN THE FRONT DOOR
AND GALELLA'S BUSH,

BLOCKING HIS SHOT.

MISS HEPBURN ESCAPES
UNPHOTOGRAPHED,

BUT GALELLA HAS
ONE MORE CHANCE.

MISS HEPBURN IS
STARRING IN A PLAY AT A DOWNTOWN THEATER.

HE HOPES
TO BEAT HER THERE.

WHY DO ALL THIS
JUST FOR A PICTURE

OF AN ACTRESS WHO YEARNS
TO STAY OUT OF PUBLIC VIEW?

KATHERINE HEPBURN IS A TREMENDOUS SUPERSTAR.

THIS IS
ONE OF THE REASONS

WHY I HAVE TO GET
GOOD PICTURES OF HER,

RECENT, IN MY FILE.

SHE'S A VERY DIFFICULT
PERSONALITY

BECAUSE SHE GUARDS
HER PRIVACY VERY MUCH.

THIS TIME GALELLA'S TACTICS WORK.

THE LIMO PULLS INTO
THE THEATER GARAGE

AND, AS GALELLA SAID LATER,
"I GOT HER."

WE ASKED GALELLA
IF HARASSING A 71-YEAR-OLD WOMAN IN THIS FASHION

WAS A DECENT WAY
TO GO ABOUT MAKING A LIVING.

I BELIEVE IN WHAT I DO.

AND I DO NOT HAVE
ANY GUILT.

THE PEOPLE OUT THERE
WANT A GLIMPSE OF HER,

WANT TO KNOW HER HABITS,
HER LIFESTYLES,

EVEN IF SHE'S PRIVATE.

THE FACT THAT SHE SHIELDS
HERSELF WITH AN UMBRELLA--

THAT PICTURE'S INTERESTING.
IT REFLECTS HER PERSONALITY.

WHEN YOU THINK OF RON,
HE WAS A GENTLEMAN.

- SELFISH.
- A CREEP.

SOFT-SPOKEN.

- MONEY-GRUBBING.
- OR SCUM.

- POLITE.
- SECOND-RATER-- THAT'S WHAT HE IS.

WELL, I ALWAYS FOUND HIM
TO BE A DELIGHTFUL, CHARMING PERSON.

EVERYTHING YOU WOULDN'T THINK
RON GALELLA WOULD BE.

I LOVE THE GUY.

I THINK HE'S, LIKE,
A NATIONAL TREASURE.

IN THE '70s, IN THE '80s
RON WAS REALLY TREATED LIKE A LEPER.

- A MAJOR NUISANCE...
- THE WORST KIND OF HUMAN BEING.

...TO SOCIETY
IN GENERAL.

- JUST ANOTHER PUTZ.
- A PAIN IN THE BUTT.

HE'S JUST THAT
PAIN-IN-THE-ASS PHOTOGRAPHER.

HE DID FOR THE LIVING

WHAT OUIJA DID
FOR THE DEAD.

THEY KNEW HE WOULD BE THERE.
THEY DIDN'T KNOW WHEN.

HE CAUGHT THEM
AT A MOMENT IN TIME

WHEN THEY WERE NOT READY
FOR THE PICTURE.

HE WAS LIKE A KID, YOU KNOW,
WHO WAS LIKE,

"OH, WHAT DID I DO
THAT WAS SO WRONG?

I JUST TOOK PICTURES."

HE APPROACHED EVERYTHING
WITH THAT INNOCENCE.

HE WANTED TO SHOW
THE HUMANITY,

BUT HE ALSO WANTED
TO GLAMORIZE THAT HUMANITY.

YOU KNOW, DAY AND NIGHT,
DAY AND NIGHT HE WOULD BE OUT THERE SHOOTING.

SOMETIMES EXTRA SECURITY
WAS POSTED

JUST TO ALERT PEOPLE
IF RON GALELLA WAS COMING.

HE WENT TO EXTREME LENGTHS
TO GET A SHOT.

RON GALELLA IS SHOWING IT
JUST LIKE IT IS.

THE END RESULT OF HIS WORK
SEEMS SUPERIOR TO ME.

CLEARLY YOU'RE VERY INTERESTED
IN THE HISTORY OF PHOTOGRAPHY AND EVERYTHING.

WHY ARE YOU MAKING A PIECE
ON RON GALELLA?

WHEN RON OFFERS
INSTRUCTION OR TIPS

TO YOUNG
ASPIRING PHOTOGRAPHERS,

I THINK IT'S CLEAR
THAT HE GIVES A BIT MORE,

OFFERS A BIT MORE
THAN YOU MIGHT GET IF YOU WERE IN A PHOTOGRAPHY SCHOOL

WHERE YOU LEARN
HOW TO USE THE CAMERA

AND COMPOSE
THE SUBJECT

AND DEVELOP THE PICTURES
AND SO FORTH.

HE GIVES TIPS THAT WOULD
PROBABLY BE CLASSIFIED

AS TIPS ON HOW TO BE
SOCIOPATHIC.

LEARN TO SNEAK INTO EVENTS,
CRASH EVENTS.

ALWAYS DRESS RIGHT.
ANY EVENT-- I ALWAYS HAD A SUIT ON.

AND NEVER
CHECK YOUR COAT.

IN THE WINTER YOU LEAVE
YOUR COAT IN THE CAR.

WITHOUT A COAT IT LOOKS LIKE
YOU BELONG THERE,

YOU TOOK A BREAK OUTSIDE
OR SOMETHING.

BE AWARE OF WHERE
THE KITCHEN IS.

THAT'S ONE WAY OF GETTING IN
IN ANY HOTEL-- THE KITCHEN.

ANOTHER WAY
OF SNEAKING IN

IS TO FORGE CREDENTIALS.

FIND SOMEBODY
THAT'S INVITED.

GO TO KINKO
AND DUPLICATE IT.

AND YOU
GET YOUR NAME IN.

SHOOT FAST.

THE REASON WHY

ONE-- YOU WANT TO GET
THE SURPRISED EXPRESSION.

AND THE WAY I SHOOT IS THIS WAY--

LOOK AT THE SUBJECT,
WITH A WIDE-ANGLE LENS.

SHOOT SHOOT SHOOT,

NOT LOOK THROUGH THE LENS.
YOU DON'T SEE--

YOU DON'T SEE
THE SUBJECT'S EYES.

YOU DON'T SEE
THE DETAIL.

AND THE SECOND REASON
YOU SHOOT FAST

IS IN CASE
THE STAR SAYS,

"NO, NO PICTURES,"
THEY DON'T WANT NO PICTURES,

AND HE MEANS IT.

SO YOU SAY, "OKAY,"
AND YOU LEAVE HIM.

BUT YOU'RE AHEAD
'CAUSE YOU GOT THE ONE OR TWO SHOTS BEFORE.

YOU HAVE TO BE ONE UP
ON THESE PEOPLE.

THIS IS
THE ART OF PAPARAZZI.

THIS IS THE LOBBY
OF THE HOTEL.

THERE'S STAIRS HERE.
THERE'S STAIRS HERE.

IT'S IN THIS ROOM.
THIS IS THE WEST FOYER.

TODAY WE'RE GOING TO THE WALDORF ASTORIA

WHERE THERE'S AN EVENT--

THE JACKIE ROBINSON FOUNDATION
ANNUAL AWARDS DINNER

WHERE ROBERT REDFORD
IS BEING HONORED.

WE GO IN,
GO THIS WAY.

EITHER WAY
LEADS TO THIS--

THIS IS THE ENTRANCE
TO THE WEST FOYER.

BUT YOU COULD BYPASS
THE STAIRS

AND GO RIGHT INTO
THE BALLROOM.

AND THERE'S ALL THESE DOORS.
THAT'S ONE WAY OF SNEAKING IN.

THE OTHER WAY IS--
THERE'S STAIRS HERE

THAT LEAD UP TO
THE FIRST BALCONY.

AND YOU COME DOWN THE STAIRS
AND YOU'RE IN THIS WAY.

YOU GET IT?

OKAY, SO LET'S GO DOWN.
I HAVE TO GET MY CAMERA DOWNSTAIRS.

LET'S GO DOWN.

MY PURPOSE REALLY IS

TO GET PICTURES
OF ROBERT REDFORD

AND PRESENT HIM
WITH MY BOOK.

OKAY.

LET'S GO.

LOOK-- DEER.

WE'RE RUNNING
A LITTLE LATE,

WHICH IS BAD
BECAUSE THEY'RE GONNA GO INTO THE BALLROOM

AND GO TO THE TABLES.

SO IT'S GONNA BE HARD
FOR ME-- I'M GONNA TRY, OF COURSE...

TO GIVE HIM THE BOOK THEN.

IN MY CAREER
IT'S NECESSARY TO SNEAK IN

BECAUSE I'M
A FREELANCER.

AND YOU'RE
THE LAST ON THE LIST TO GET INVITED.

BECAUSE THESE PEOPLE THERE--
I DON'T KNOW,

THEY'RE LIKE GESTAPO,
THESE PRESS AGENTS.

WHO'S FILMING HERE?

IT'S CALLED "SALT," WITH ANGELINA JOLIE.

YEAH? SHE'S HERE?

ANGELINE JOLIE
IS IN THIS MOVIE.

SHE'S NOT HERE.

SHE'S NOT HERE.
TOO BAD.

I'D RATHER SHOOT HER
THAN REDFORD.

WELL, THIS IS
THE WEST FOYER.

THIS IS WHERE THE RECEPTION
IS SUPPOSED TO BE,

UNLESS IT'S
THE OTHER SIDE.

I'M A LITTLE LATE.
WEST FOYER?

YEAH, EVERYTHING'S
FINISHED UP THOUGH.

WE JUST FINISHED UP
ABOUT 15 MINUTES AGO.

- YEAH?
- YEAH.

OKAY, WE'RE GONNA TRY
TO GO TO THE OTHER SIDE

AND GET INTO THE PRIVATE
RECEPTION, SUPPOSEDLY.

EXCUSE ME.

- HELLO.
- HI, WHERE'S ROBERT REDFORD?

- HUH?
- WHERE'S ROBERT REDFORD?

WHERE? I HAVE
NO EARTHLY IDEA.

EXCUSE ME, IS ROBERT REDFORD
IN THE ROOM HERE?

- YES, HE IS.
- WHERE IS HE?

RIGHT IN THE MIDDLE
OF THAT CLUSTER.

EXCUSE ME.

SORRY.

- EXCUSE ME.
- YOU GOTTA GET IN THERE.

YEAH YEAH.

- ROBERT, HI, HI.
-RON.

- I'M HERE LATE.
- HOW ARE YOU?

COULD YOU GIVE ME
A COUPLE OF SHOTS? - SURE.

BOB, BOB.

BOB, ONE MINUTE.
I WANT TO GIVE YOU THE BOOK.

I WANT TO HAND IT TO HIM.
YOU DON'T MIND LETTING ME GIVE HIM THE BOOK?

- LISTEN LISTEN, ONE MINUTE.
- GIVE ME THE BOOK. I'VE GOT TO GET IN THERE.

YEAH YEAH, OF COURSE.
YOU'RE IN THE BOOK.

I'LL COME GET IT
FROM YOU LATER.

NO, I WANT TO HAND IT
TO ROBERT.

- OKAY, GIVE IT TO ME.
- THERE HE IS.

- THANKS.
- SHAKE HANDS. THANK YOU.

OKAY, WE GOT IT,
YOU SEE?

LUCKILY HE CAME OUT.

RON-- HE'S SORT OF SINGULARLY UNAWARE

OF THE IMPRESSION
THAT HE GIVES TO PEOPLE.

YOU KNOW, WHEN YOU
DRIVE UP TO HIS HOUSE,

YOU KNOW, HIS NAME IS
RON GALELLA

AND HE LIVES
IN NEW JERSEY.

AND YOU DRIVE UP TO HIS
HOUSE FOR THE FIRST TIME

AND YOU GO, "MY GOD,
IT'S 'THE SOPRANOS.'"

THESE ARE THE PICTURES

FROM "NO PICTURES,"
FROM THE BOOK.

TARGETS OF THE LENS LABEL THE PAPARAZZO

A PARASITE,
A PERSONALITY PROFITEER.

GALELLA'S LIFE
IS FILLED WITH REJECTION.

AND THIS ONE.

YEAH, PUT IT IN THE TRUNK.
YOU KNOW HOW TO OPEN THE TRUNK?

YEAH.

HOW DID I GET STARTED IN PAPARAZZI?

MY MOTHER WAS INTERESTED
IN GLAMOUR, MOVIES,

THE ACCENTS OF CARY GRANT,
DAVID NIVEN,

AND EVEN RONALD COLMAN
WHO SHE NAMED ME AFTER.

BUT IT WAS THE UNITED STATES
AIR FORCE

THAT GAVE ME MY CAREER.

I SHOT CELEBRITIES
COMING TO THE BASE

FOR THE BASE NEWSPAPER.

WE HAVE THREE ROBERT REDFORDS...

RIGHT.

...AND THEN THE 12
STEVE McQUEENS.

- CAME OUT GREAT, DIDN'T IT?
- YEAH YEAH, VERY GOOD.

THESE ARE ALL 30x40.

- WHO IS THIS?
- THIS IS CATHERINE DENEUVE,

- THE FRENCH ACTRESS.
- OH, YEAH.

MICK JAGGER,
BRUCE SPRINGSTEEN AND...

- BOB DYLAN.
- BOB DYLAN.

A PHOTOGRAPHER--

YOU HAVE
A GOOD GIMMICK.

WHEN YOU SEE A PRETTY GIRL
ON THE STREET, YOU SAY,

"I WANT TO TAKE
A PICTURE."

THAT WAY YOU CAN
GET ACQUAINTED, SHOOT PICTURES OF HER.

AND I PLACED HER
IN NICE SETTINGS

AND MAKE IT
INTERESTING,

I USED MY
ARTISTIC BACKGROUND.

AND I LOVED IT,
YOU KNOW.

THEY'RE ALL 16x20,
ALL 12 EACH.

THAT'S WHY HE GIVES ME
BIG DISCOUNTS.

- $145 EACH.
- THAT'S $175.

THAT'S $175,
THAT'S NOT A FOUR. OH.

WHAT, DO YOU CHARGE EXTRA
FOR THE SCANNING?

$150 IS A LOT.
WHY DON'T YOU MAKE IT LESS?

NOW IF YOU GIVE ME
A GOOD PRICE,

I COULD ORDER
THREE MORE FOR ME.

I BET YOU HE GOES DOWN
IN THE PRICE.

HE'LL GO DOWN
IN THE PRICE.

THE PAPARAZZI ARE DEFINED
AS PESTS AT BEST, LEECHES AT WORST.

DOES THE "PAPA" PART
COME FROM THE POPPING OF FLASHBULBS, PERHAPS?

I SUPPOSE A PAPARAZZO
IS SOMEBODY

WHO HAS NO DEFINITE APPOINTMENT
TO TAKE YOUR PICTURE.

THE DEFINITION
OF PAPARAZZO

COMES FROM THE ITALIAN,
"MOSQUITO."

THEY BUZZ AROUND.
THEY ARELIKE INSECTS ACTUALLY.

AND THEY ALSO STING.

THE TERM "PAPARAZZI" COMES FROM THIS FILM,

IN WHICH ONE OF THE PACK
IS ACTUALLY NAMED PAPARAZZO.

WELCOME TO STALEY-WISE.

HI.

SORRY WE'RE LATE.

THIS IS GREAT.

I GAVE YOU ADDITIONAL THREE.
AMSTERDAM WANTED TWO.

YOU MENTIONED
MICK JAGGER.

THE REAL PAPARAZZI ARE THE ONES

WHO COME UP WITH THESE
AMAZINGLY CREATIVE WAYS

OF INVADING
SOMEBODY ELSE'S PRIVACY.

NEW BOOK PROPOSALS.

THEY DID TWO OF MY BOOKS,
BOTH SUCCESSFUL.

THE NAME OF THE GAME IS I THINK THAT CELEBRITIES--

THAT THEY WANT
TO CONTROL THEIR IMAGE.

THEY WANT TO CONTROL
THE PRESS.

AND I'M SAYING,
"NO, I WANT THE CONTROL.

I'M THE ARTIST.
THIS IS MY MEDIUM."

RON, DO YOU WANT
TO BE SOMEBODY FAMOUS?

I AM.

I AM RON GALELLA,
PAPARAZZO SUPERSTAR.

PHOTOGRAPHY--
IT'S THE EASIEST MEDIUM

IN WHICH TO BE COMPETENT.

ANYBODY WITH
A POINT-AND-SHOOT CAMERA

CAN TAKE
A COMPETENT PICTURE.

BUT IT'S THE HARDEST MEDIUM
IN WHICH TO HAVE

TO EXPRESS SOME KIND
OF PERSONAL VISION,

BECAUSE THERE IS NO TOUCH,
THERE IS NO HAND,

THERE IS
NO PHYSICALITY.

THE FACT THAT YOUCAN
HAVE SOMETHING

THAT'S RECOGNIZABLE
FROM 50' ACROSS THE GALLERY

AS A DIANE ARBUS

OR AN IRVING PENN
OR WHATEVER--

THAT FACT THAT YOU CAN HAVE
RECOGNIZABLE AUTHORSHIP

MEANS THEY REALLY
HAVE DONE SOMETHING,

BECAUSE IT'S
A DAMN HARD THING TO DO.

THERE'S PROBABLY ABOUT

THREE MILLION-PLUS IMAGES
DOWN HERE,

BETWEEN PRINTS, SLIDES
AND NEGATIVES,

GIVE OR TAKE
A COUPLE HUNDRED THOUSAND.

WHEN I DESIGNED THIS WHOLE LAYOUT,

THERE WAS SO MUCH MATERIAL
THAT I HAD TO MAKE THE AISLES

A LITTLE SMALL, NARROW,

BECAUSE THERE WERE SO MUCH
BINDERS HERE FOR COLOR

THAT YOU HAVE TO
GO SIDEWAYS IN IT, SEE?

LIKE...

IN FACT, EVEN IN
THE FURNACE ROOM HERE

WE HAVE FILES, SEE?
COME OVER HERE.

HERE WE HAVE WHAT'S KNOWN
AS THE "S" ROOM,

WITH PAUL NEWMAN,
RONALD REAGAN

AND ROBERT REDFORD
AND JOHN TRAVOLTA

AND SINATRA
OF COURSE-- "S".

LOOK AT THIS FILE.
THIS IS ALL SINATRA,

AT LEAST TWO ROWS
OF SINATRA.

THEN WE HAVE PAUL NEWMAN
DOWN HERE,

ROBERT REDFORD
OVER HERE,

JOHN TRAVOLTA OVER THERE.

THESE ARE ALL
THE GOLDEN GLOBE AWARDS

AND THE ACADEMY AWARDS.

HE'S COVERED THEM
SINCE 1968.

MOST FAMOUS PEOPLE ALREADY HAVE

THEIR OBITUARIES
WRITTEN UP

BY "THE NEW YORK TIMES"
AND ALL THOSE KINDS OF NEWSPAPERS.

SO WE TRY TO DO THE SAME THING
WITH PHOTOGRAPHS.

YOU KNOW, IF SOMEONE
IS EITHER SICK

OR WE KNOW THAT UNFORTUNATELY
THEY'RE GONNA DIE SOON,

SOMETHING LIKE THAT,
WE TRY TO DO THOSE PICTURES IMMEDIATELY,

SO THEY ARE AVAILABLE
FOR PUBLICATION.

IT SOUNDS
A LITTLE MORBID,

BUT THAT'S BASICALLY HOW WE,
YOU KNOW, MAKE THE MONEY.

HERE WE'VE GOT SOME
BILLY JEAN KING

WHO'S GOT A BIG FILE.
WE GOT HER IN 1972.

THERE'S A FEW SHOTS
OF HER WITH ELTON JOHN IN SOME OF THESE PICTURES.

THIS SHOT'S RIDICULOUS.
THAT'S GOING ON THERE.

WE HAVE A BUNCH OF
ANDY KAUFMAN

FROM THE "FRIDAYS" SHOW
BACK IN THE EARLY '80s.

AND WE JUST FOUND
PICTURES OF LARRY DAVID

AND KRAMER FROM "SEINFELD."
HE DIDN'T MAKE PRINTS OF THEM

BECAUSE HE DIDN'T KNOW
WHO THEY WERE AT THE TIME.

THEY WERE JUST RANDOM WRITERS
FOR THE SHOW

AND HE WAS TAKING PICTURES
OF ANDY KAUFMAN.

I MEAN, WE THOUGHT
THAT WAS A PRETTY BIG FIND.

PRINCESS DI--

I DID NOT
PHOTOGRAPH HER A LOT

BECAUSE SHE RARELY CAME
TO NEW YORK.

I ONLY GOT ABOUT
FIVE OR SIX TAKES.

BUT SHE WAS NICE.

WE ALL MISS HER.

THIS IS ALL
MICHAEL JACKSON.

YOU SEE HE HAS
A BIG FILE.

HE'S WITH HIS--
EMMANUEL LEWIS AND BROOKE SHIELDS.

SOMETIMES HE WORE MASKS
FOR SANITARY REASONS.

HE SAW ME,

HE ROLLED DOWN THE WINDOW,
HE SHOOK MY HAND.

DONALD TRUMP.

THERE'S A SILHOUETTE
OF HIM.

WITH DIANA ROSS.

THIS IS AN EARLY PICTURE
WHEN HE WAS BLACK,

BEFORE SURGERY.

A LITTLE SURGERY.

HE WENT TO SEE "CATS"
AT THE WINTER GARDEN THEATRE.

AND HE HAD HIS HAND UP.

AND THIS PICTURE RAN
IN "US MAGAZINE,"

A DOUBLE-PAGE SPREAD--
JUST HIS HAND.

IMAGINE THAT.
JUST MICHAEL JACKSON'S HAND--

A BIG PICTURE.

HE FALLS INTO THE GRAND TRADITION

OF STREET
PHOTOGRAPHERS.

STREET PHOTOGRAPHERS
CAN SHOOT

A LOT OF FRAMES
VERY QUICKLY.

AND YOU'RE PROBABLY GUARANTEED
THERE'S GONNA BE

SOMETHING IN THERE
THAT'S USEABLE, IF NOT GREAT.

BUT WHAT MATTERS IS--
DID YOU GET THE PICTURE?

AND WAS THE PICTURE USED?
DID YOU MAKE MONEY ON IT?

THEN YOU'VE DONE YOUR JOB.
THEN YOU'VE DONE IT.

AND THAT IS
WHAT RON--

HE COULDN'T CARE LESS
ABOUT THE PEOPLE.

HE'S PASSIONATE
ABOUT WHAT HE DOES.

IN FACT,
IT IS THE PASSION

THAT SEPARATES HIM
FROM SO MANY OF THE OTHERS.

I THINK THE THING
THAT REALLY DRIVES RON

IS YOU NEVER KNOW--

YOU NEVER KNOW
WHAT'S GOING TO HAPPEN.

HE'S GOT THIS KIND OF
ALMOST CHILDLIKE CURIOSITY.

AND THERE'S TO HIM
AN EXCITEMENT ABOUT--

YOU NEVER KNOW
WHAT'S GONNA HAPPEN.

SO NICE OF YOU TO COME.

-HOW OLD ARE YOU NOW?
- PARDON ME?

- HOW OLD ARE YOU?
- 77.

STILL GOING.
MORE BOOKS.

YOU'RE TOO OLD TO HIDE
IN THE BUSHES NOW, THOUGH.

NO, THE GOLD IS
IN THE FILES.

MY FIRST TAKE OF JACKIE

WAS MAY, 1967--

THE VERY FIRST TAKE.

SHE WENT TO
THE WILDENSTEIN GALLERY.

AND IT WAS IMPOSSIBLE

TO GET PICTURES
IN THE MUSEUM

BECAUSE IT WAS JUST
CROWDED WITH PEOPLE.

AND HER DATE WAS
ANDRE MEYER.

HE WAS A FINANCIER.

SO I WAITED
FOR HER TO COME OUT AND I FOLLOWED THEM.

AND I FOUND OUT
WHERE JACKIE LIVED-- 1040 5th AVENUE.

AND THEN FROM THEN ON
IT WAS A MARATHON.

JACKIE ONASSIS-- AN INCREDIBLE STORY

BECAUSE OF THE CONTROVERSY
AROUND HER.

SHE WAS MARRIED TO PROBABLY
ONE OF THE GREATEST PRESIDENTS EVER

AND SHE ENDS UP
WITH THIS GREEK TYCOON

WHO'S 30 YEARS OLDER
THAN HER.

IT WAS UNIMAGINABLE

FOR HER TO MARRY
ARISTOTLE ONASSIS.

JACKIE HAD JUST
COME OUT OF MOURNING.

WHAT, ARE YOU GONNA
HARASS HER?

I MEAN, SHE'S GOT
THE KIDS,

SHE'S GOT THE THINGS,
TRYING TO MAKE A LIFE.

HER FAME THEN
WAS SO COMPELLING.

AND IT KIND OF REMAINS.

WHETHER IT WAS NEWS
ABOUT JACKIE O

AND HOW SHE WAS FEELING
THAT DAY

OR WHAT WAS
GOING ON IN HER LIFE-- I MEAN, THAT WAS NEWS.

AND SHE DIDN'T REALLY COURT PUBLICITY

BUT GOT IT,
AND WENT OUT INFREQUENTLY.

SHE MAYBE WENT OUT
MAYBE TO A FUNCTION

MAYBE ONCE A MONTH.

SO UNLESS YOU WAITED
OUTSIDE OF HER HOUSE...

Galella:
SEPTEMBER 24th, 1969,

I ARRIVED HERE.

I WENT TO
A NEXT-DOOR NEIGHBOR

OVER THERE-- 1045.

AND I ASKED A DOORMAN
WHO WAS VERY FRIENDLY TO ME.

I TIPPED HIM OFF
USUALLY $10 OR $15.

AND HE SAID,
THEY'RE ON A BIKE IN CENTRAL PARK--

JOHN JUNIOR
AND JACKIE.

I IMMEDIATELY WENT
UP THE PATH THERE

AND I SAW THEM
APPROACHING THIS PATH.

I HID BEHIND
THAT TREE THERE.

YOU SEE THAT GIRL
WHO'S JOGGING?

RIGHT THERE IS WHEN
I SHOT THE PICTURES.

SHE NEVER SAW ME
TILL I GOT OUT OF THE BUSHES.

AND JACKIE TURNED TO ME--
SHE WAS RIGHT HERE--

"OH, IT'S YOU AGAIN."

IN THE MEANTIME,
THEIR TOP AGENT MR. CONNELLY

COMES ON A BIKE, SAYS,
"YOU'VE HAD ENOUGH."

AND I SAID,
"YES, I'M LEAVING."

JACKIE SAID,

"MR. CONNELLY,
SMASH HIS CAMERA."

THE AGENTS COME
RUNNING AFTER ME.

AND THEY SAID,
"GIVE US THE FILM."

BUT I SAID,
"NO, YOU'RE NOT GETTING THE FILM."

I SLAMMED THE TRUNK OF MY CAR
WITH THE FILM AND CAMERA IN THERE.

AND THEN THEY SAID,
"GET IN OUR SECRET SERVICE CAR."

AND THEY DROVE ME
TO THE 19th PRECINCT

AND THEY ARRESTED ME.

THIS GAVE RON, HE FELT,
THE JUSTIFICATION

TO SUE MRS. ONASSIS
FOR HARASSMENT.

AND HE FILED
A $1.3 MILLION

LEGAL SUIT
AGAINST HER

FOR BLOCKING HIM
FROM TAKING PICTURES,

FROM EARNING A LIVING.

MRS. ONASSIS COUNTERSUED
AGAIN FOR HARASSMENT,

CLAIMING THAT HE WAS

TERRIFYING HER
AND HER CHILDREN

BY STALKING HER
THE WAY HE DID.

I THOUGHT SHE WOULD
SETTLE OUT OF COURT,

BUT SHE DECIDED
TO GO TO COURT

BECAUSE ARI PAID
THE BILLS.

ARI'S BILLS CAME TO
$500,000.

AND MY LAWYERS--
THEY ONLY CHARGED ME

$40,000 FOR
THE WHOLE THING.

IT WAS A BARGAIN.

EVERY PUBLICATION THROUGHOUT THE WORLD

WANTED TO PHOTOGRAPH
MRS. ONASSIS

DURING THE COURSE
OF THIS TRIAL.

THERE WERE LINES OUTSIDE THE COURTROOM,

JUST WAITING TO COME IN
AND SEE MRS. ONASSIS

WHO WAS IN TRIAL
EVERY DAY.

THERE WAS MARTIN LONDON
REPRESENTING MRS. ONASSIS.

THERE WAS AL JULIEN
AND MYSELF

REPRESENTING
RON GALELLA.

AND I WAS THERE REPRESENTING
THE SECRET SERVICE

WHO WERE GUARDING
CAROLINE AND JOHN.

JACKIE HAD LOST
HER PROTECTION

WHEN SHE MARRIED
MR. ONASSIS.

THAT'S THE LAW.

BUT CHILDREN
OF A FORMER PRESIDENT

GET SECRET SERVICE
PROTECTION

UNTIL THEY ARE
18 YEARS OLD.

MRS. ONASSIS TOOK ADVANTAGE OF THAT.

WHEN THE CHILDREN
WERE WITH HER,

THE SECRET SERVICE
WERE THERE.

AND SHE HAD
THE ADVANTAGE OF THAT.

ALL OF THESE PICTURES
HAVE BEEN TAKEN IN PUBLIC PLACES.

NOW IF THERE'S GOING
TO BE RESTRICTION

ON THE RIGHT OF THE PHOTOGRAPHER
TO OPERATE IN PUBLIC PLACES,

THAT'S FOR A JUDGE TO SAY,
NOT FOR A LAWYER.

WOULD YOU SAY THEN
THIS MAY VERY WELL BE

A PRECEDENT-MAKING CASE?

I DON'T THINK
THERE'S ANY QUESTION

THAT THERE'S VERY VITAL
PRECEDENT INVOLVED HERE.

THERE'S A CONFLICT
PERHAPS

WITH RESPECT
TO RIGHTS OF PRIVACY.

AND THERE CERTAINLY IS
A CONFLICT

WITH RESPECT TO WHAT'S
THE RIGHT OF THE PRESS

AND WHAT'S THE RIGHT
OF THE PHOTOGRAPHER SERVING THE PRESS.

I TRIED THE CASE WITH MY
LATE PARTNER ALFRED JULIEN

AND HE WAS QUESTIONING HER.

AND OF COURSE THE BIG
CONSTITUTIONAL ISSUE IS--

ARE YOU A PUBLIC PERSON?

IF YOU ARE,
IT'S NOT FREE REIN,

BUT YOU CERTAINLY DON'T HAVE
THAT KIND OF PROTECTION

THAT A PRIVATE INDIVIDUAL
WILL HAVE.

AND SHE WAS ASKED,
"DO YOU CONSIDER YOURSELF A PUBLIC FIGURE?"

AND SHE SAID NO.

AND HE TURNED
TO THE 200 PHOTOGRAPHERS

AND JOURNALISTS
THAT WERE THERE AND SAID,

"I GUESS THEY'RE ALL HERE
TO SEE ME."

THE JUDGE AT THE TRIAL--

HE ASKED US-- EVERYBODY
TO PUT IN PROOF

AS TO HOW FAMOUS WAS

JACQUELINE KENNEDY ONASSIS.

IT CAME DOWN TO TWO,
AND ONLY TWO WOMEN.

THERE WAS NO DISCUSSION
ABOUT A MOVIE STAR.

THERE WAS NO DISCUSSION ABOUT
A TELEVISION STAR.

THE DISCUSSION WAS--

QUEEN ELIZABETH,
JACKIE KENNEDY ONASSIS.

RON'S LAWYERS PERSISTENTLY
TRIED TO PROVE

THAT THE PHOTOGRAPHS SHOWED

THAT JACKIE WAS
NOT AT ALL TERRIFIED,

THAT MOST OF THE PICTURES
SHOWED HER SMILING,

SO HOW COULD THAT INDICATE
SOMEONE'S ALARM?

JULIEN ASKS, "ISN'T THAT
A SMILE ON YOUR FACE?"

JACKIE RESPONDS,

"NO, I'M WALKING
VERY FAST

AND THE PHOTOGRAPHER IS
RESTRICTING MY PASSAGE."

JULIEN ASKS,
"DOES THIS PICTURE

SHOW YOU FRIGHTENED
OR ALARMED?"

"OBJECTION."
"OVERRULED."

"I COULDN'T SAY, SIR,"
ANSWERS MRS. ONASSIS.

JULIEN: "ARE YOU LOOKING
AT THE CAMERA?

ARE YOU SMILING?"

MRS. ONASSIS:
"MY MOUTH IS OPEN, SIR."

"ARE YOU SMILING?"
"NO, SIR."

"OH, BUT DOES THIS SHOW
SOMEONE FRIGHTENED?"

"IT COULD BE, SIR."

ALL SHE HAD TO DO WAS
WALK OUT AND SAY,

"GOOD MORNING,
MR. GALELLA,"

KEPT A STRAIGHT FACE
AND GET INTO HER TAXI.

HE COULD HAVE HAD
A REALLY DULL PICTURE,

BUT JACKIE
RUNNING ACROSS

AWAY FROM HIM
IN CENTRAL PARK

IS AN INCREDIBLE PICTURE.

FIRST LADIES DON'T RUN.
CAN YOU IMAGINE PAT NIXON

OR BARBARA BUSH
RUNNING, YOU KNOW?

IF YOU STALK SOMEBODY

TIME AFTER TIME
AFTER TIME,

IT'S DEPRESSING.
IT'S DEMORALIZING ON THE SUBJECT--

FOR HIM TO HAVE
"GREAT ART," RIGHT? QUOTE UNQUOTE.

WE DON'T HAVE A SORT OF
GENERAL RIGHT OF PRIVACY.

WE HAVE A RIGHT
OF PRIVACY

AGAINST THE GOVERNMENT
IN A LOT OF WAYS,

BUT WE DON'T HAVE A RIGHT
TO PRIVACY AGAINST EACH OTHER.

WHY SHOULD HE BE DEPRIVED
FROM MAKING A LIVING?

HE WASN'T DOING
ANYTHING CRIMINAL.

HE WAS NEVER CHARGED
WITH ANYTHING CRIMINAL.

WE FELT STRONGLY
ON HIS SIDE ABOUT IT.

HE HAD A RIGHT
TO MAKE THAT LIVING.

SHE WAS IN SUCH
TREMENDOUS DEMAND THAT EVERY MAGAZINE--

SO WHAT DOES THAT MEAN?
WHAT DOES IT MEAN?

DOES IT MEAN YOU CAN
DO WHATEVER IT TAKES TO TAKE A PICTURE?

- YOU CAN'T COMMIT A CRIME.
- YOU KNOW, THIS IS ALL PART

OF THE JOURNALISTIC
FIRST AMENDMENT BULLSHIT.

THE FIRST AMENDMENT DEALS

WITH THE SUBSTANCE
OF THE PHOTOGRAPH--

I HAVE NO PROBLEM
WITH THAT.

WHAT I HAVE
A PROBLEM WITH

IS WHAT THE SO-CALLED
JOURNALIST DOES TO GET IT.

THE ARGUMENT THAT THE PUBLIC
IS ENTITLED TO KNOW THE TRUTH

IS BULLSHIT.
THE JOURNALIST--

YOU DON'T HAVE
TO BE A JOURNALIST TO HAVE A FIRST AMENDMENT RIGHT.

EVERYBODY HAS A FIRST
AMENDMENT RIGHT.

SO HE HAS A RIGHT
TO TAKE A PICTURE

OF SOMEBODY
ON A PUBLIC STREET.

NOW THE QUESTION IS--
WHAT'S THE LAW?

CAN YOU TAKE A PICTURE
FROM ACROSS THE STREET?

THAT'S PROBABLY
NOT TOO OFFENSIVE.

CAN I JUMP OUT IMMEDIATELY
IN FRONT OF YOU

AND STICK A CAMERA
SIX INCHES FROM YOUR NOSE

AND JUMP UP AND DOWN
AND JUMP BACKWARDS?

CAN I DO IT EVERY DAY?

CAN I SCARE
YOUR CHILDREN?

CAN I MAKE YOUR LIFE
MISERABLE?

NOT AN EASY QUESTION
TO ANSWER.

IT'S A SLIPPERY SLOPE.

BACK OFF THE DRIVE, GENTLEMEN.

BACK OFF.

HEY, YOU, BACK OFF!

THIS IS AN ALLIANCE

BETWEEN THE PHOTOGRAPHERS,

THE CELEBRITIES,
THE PUBLISHERS

AND THE READERS
OF THE MAGAZINES

AND THE VIEWERS

OF THE PROGRAMS
ON TELEVISION.

YOU CAN'T SEPARATE

ANY ONE OF THOSE PIECES
OF THE ALLIANCE.

PEOPLE SINCE THE DAWN OF TIME
HAVE BEEN INTERESTED

IN THE CELEBRITIES
OF THEIR WORLD

AND I THINK THAT WE TRULY ARE
BORN WITH A GOSSIP GENE.

WHEN WE'RE
IN HIGH SCHOOL

EVERYONE GOSSIPS
ABOUT THE IN GROUP.

IN ENGLAND THEY GOSSIP
ALL ABOUT THE ROYAL FAMILY,

AND THEY'VE BEEN DOING THAT
FOR LIKE 2000 YEARS.

AND I'M SURE
BACK IN THE DAY

PEOPLE WERE GOSSIPING
ABOUT THE PHARAOH

AND THE PHARAOH'S WIFE.

IN THE DAYS OF THE SILENT MOVIES,

THE VERY EARLY DAYS,

THE AUDIENCE DIDN'T KNOW
WHO THE STARS WERE

BECAUSE THE PRODUCERS
WORRIED

THAT IF THE STARS
BECAME

A COMMODITY
IN THEIR OWN RIGHT,

THAT THEY WOULD DEMAND
TOO MUCH MONEY.

IT WENT FROM STARS
BEING COMPLETELY ANONYMOUS

TO THE STARS BEING
VERY WELL KNOWN,

BECAUSE THE PRODUCERS
SUDDENLY REALIZED

THAT IT'S ALMOST LIKE
A PRODUCT EXTENSION--

IF YOU'VE GOT A MOVIE,

IF YOU CAN THEN
SELL STORIES

ABOUT THE STARS
IN THE MOVIE.

BUT IT WAS A VERY DIFFERENT
KIND OF CELEBRITY

FROM WHAT WE HAVE TODAY,
BECAUSE IT WAS RARE.

IT WAS SCARCE.

THE STUDIOS
CONTROLLED IT.

THEY DECIDED
WHAT WE NEEDED TO KNOW.

IT WAS THE DEATH
OF THE STUDIO SYSTEM

THAT LAUNCHED
WHATEVER IS GOING ON NOW.

I THINK IT REALLY BEGAN
WHEN EDDIE FISHER

AND ELIZABETH TAYLOR
AND RICHARD BURTON

WENT TO ROME
TO DO "CLEOPATRA."

AND SUDDENLY
THE AFFAIR BEGAN

BETWEEN BURTON
AND TAYLOR

AND THE WHOLE WORLD
WAS INTERESTED.

IT WAS BLATANT ON THE SET

THAT THERE WAS THIS AFFAIR
GOING ON.

AND THEN
ALL HELL BROKE LOOSE--

PAPARAZZI WITH THE VESPAS
AND SCOOTERS

CHASING THEM AROUND ROME.

AND THE MORE INTEREST THERE IS,

THE MORE MONEY
SOMEBODY WHO HAS THE PICTURES IS GONNA MAKE.

I HAVE A BIGGER FILE OF LIZ TAYLOR THAN JACKIE,

BECAUSE SHE'S MORE
ACCESSIBLE.

SHE ATTENDS PREMIERES
AND PUBLIC EVENTS, YOU KNOW.

ELIZABETH TAYLOR,
RICHARD BURTON

HAVE A YACHT--
THE KALIZMA.

IT WAS MOORED
ON THE THAMES RIVER.

I GOT A TIP
FROM ONE OF THE SAILORS

THEY WERE GONNA HAVE
A PARTY THAT WEEKEND.

ADJACENT TO THE YACHT

THERE WAS
A FIVE-STOREY WAREHOUSE.

I PAID
THE WATCHMAN $12

TO LOCK ME
IN THE WAREHOUSE

AT 4:00 P.M.
FRIDAY AFTERNOON.

I WAS A PRISONER
IN THAT WAREHOUSE FOR THE WEEKEND.

SO I GOT A SHOPPING BAG
FULL OF GROCERIES--

HERO SANDWICHES,
CREAM SODA, CAKE,

AND TOILET PAPER TOO.

I SAW RATS ON THE FIRST FLOOR,
SECOND FLOOR.

IN FACT, THE FIRST NIGHT
I WAS SO SCARED OF THE RATS,

I WENT AND
SLEPT ON THE ROOF.

SATURDAY AFTERNOON,
SURE ENOUGH, THEY CAME.

I PHOTOGRAPHED THEM

WITH A 300mm LENS
FROM THE WINDOW.

THEY NEVER SPOTTED ME--
NEVER.

THE NEXT MORNING
I GOT THEM EATING BREAKFAST,

CURSING AT EACH OTHER,

JUST LIKE IN "VIRGINIA WOOLF,"
THE MOVIE.

THIS YACHT--
THE KALIZMA--

BECAME A LANDMARK
FOR THE TOURISTS.

THE BOATS WOULD
COME CLOSE.

I CAUGHT LIZ
PUTTING UP

GAUZE CURTAINS
FOR PRIVACY.

AND I GOT THE PICTURE

OF THE TOURISTS
WITH THEIR CAMERAS.

THEY DIDN'T SEE LIZ,

BUT I GOT THE PICTURE
FROM ABOVE.

I LIKE THAT PICTURE
THE BEST.

TODAY FOR THOSE
PICTURES

I COULD HAVE GOTTEN
$100,000,

BUT IN THOSE DAYS

I ONLY GOT $400
FROM "THE NATIONAL ENQUIRER"

FOR A DOUBLE-PAGE
SPREAD.

I WAS JUST HAPPY
THAT IT WAS PUBLISHED.

RON, IS THIS WORTH IT?

IS IT WORTH GOING THROUGH
THIS KIND OF THING?

WELL, FOR ME IT IS.
I LOVE MY WORK--

PHOTOJOURNALISM.

AND A PAPARAZZI IS
JUST A TOOL

THAT MUST BE USED

TO CAPTURE CELEBRITIES
AS THEY REALLY ARE,

IN A MORE
TRUTHFUL LIGHT.

BETTY, WHAT'S YOUR PART
IN ALL OF THIS?

HOW DO YOU VIEW
YOUR ROLE IN ALL OF THIS?

RON GALELLA.

WHEN RON MET BETTY,

IT REALLY WAS THE GREATEST
THING IN HIS LIFE.

SHE WAS EXACTLY THE PARTNER
THAT RON NEEDED.

I'M GOING TO
HAVE TO ASK

THAT WE DOUBLE
THIS AMOUNT.

YOU KNOW AND I KNOW

IF YOU HAVE TO GO BACK
AND REPLACE THIS ART,

IT'S GOING TO
COST YOU MORE

THAT MY ASKING YOU
TO DOUBLE ON THE PRICE.

I USED TO BUY HIS PICTURES.

I WAS VICE PRESIDENT
OF "TODAY IS SUNDAY"

IN WASHINGTON.

WE HAD BEEN PUBLISHING
HIS WORK

FOR A YEAR OR TWO.

AND I SAID, "OH, I HOPE
SOMEDAY I'LL MEET THIS MAN."

SHE HAD A SOFT VOICE
ON THE PHONE, LIKE JACKIE,

ALWAYS LAUGHTER
IN HER VOICE.

ONE DAY THE PHONE RINGS.

HE WANTS TO COME
TO THE KENNEDY CENTER

THAT SAME NIGHT

TO PHOTOGRAPH THE PREMIERE
OF "SUPERMAN."

AND HE SAID,
"CAN YOU GET ME IN?"

AND I NEVER THOUGHT
SHE WOULD BE A BEAUTIFUL GIRL.

I SAID, "THESE, YOU KNOW,
GIRLS FOOL YOU

BECAUSE THEY MAKE UP
FOR THEIR LOOKS

WITH NICE PERSONALITIES."

A LITTLE LATER IN THE EVENING
HE FLEW IN

AND AS A COURTESY
I MET HIM.

WELL, WHEN I LAID EYES ON BETTY,
I COULDN'T BELIEVE IT.

I SAYS, "LOOK, THIS GIRL
IS BEAUTIFUL."

AND I ASKED BETTY,

"ARE YOU SURE
YOU'RE NOT MARRIED?"

SHE SAYS, "NO."

AND I SAID,
"I'M GONNA MARRY YOU."

AND WITHIN FIVE MINUTE
OF OUR MEETING

HE PROPOSED MARRIAGE.

AND I SAID YES.

AND I THOUGHT,
"WELL, HERE'S THIS TALL,

DARK, GOOD-LOOKING
HUNK OF A GUY,

AND LOOKING EVER SO
NEW YORK CHIC."

I REALLY WAS IMPRESSED.

AND THEN WE WENT

TO THE NEAREST MOTEL
AND SHACKED UP.

RON!

WELCOME TO MY GARDENS.

THESE ARE
ITALIAN GARDENS.

I BUILT THIS WHOLE
WALL HERE,

THIS BELGIUM BLOCK,
MYSELF.

AND I BUILT THAT FOUNTAIN
MYSELF TOO, RIGHT THERE.

HERE'S A WINDMILL
I BUILT

WITH THOSE FLOWERS
AT THE BASE.

THIS IS ANOTHER AREA
THAT I BUILT UP

WITH THESE
FOUR COLUMNS.

AND YOU NOTICE THAT I PUT
THESE PLANTERS ON TOP

WITH FAKE EVERGREENS
ON TOP.

HE BUYS SILK AND PLASTIC PLANTS.

HE BRINGS THEM HOME
AND DIPS THEM

IN A 10-GALLON BUCKET
OF POLYURETHANE

AND THEN
HE PLANTS THEM

AND CALLS IT
HIS GARDEN.

THAT'S ONE EXAMPLE
RIGHT THERE.

THIS TOPIARY
WAS DIPPED AND--

IT'S AN UTTER,
ABSOLUTE HUMILIATION.

BETTY'S PARENTS WERE
IN THE FLORIST BUSINESS.

THESE ARE FAKE
EVERGREENS--

FAKE EVERGREENS.

RON IS TIGHT

AS THE BARK
ON A TREE.

I THINK I ONLY SPENT
$20 FOR THIS ONE.

AND THEY COME
WITH LIGHTS TOO.

THIS IS THE RABBIT CEMETERY
FOR MOST OF OUR RABBITS.

THEY'RE BURIED
ALONG HERE.

EACH RABBIT REPRESENTS
ANOTHER BURIAL.

IT'S HARD TO PUT TOGETHER,
YOU KNOW,

THE RUTHLESS
PHOTOJOURNALIST

WITH THE GUY
WHO LOVES RABBITS AND PETS RABBITS

AND CLEARLY IS VERY FOND
OF HIS RABBITS.

WHY BUNNIES?

THEY'RE CLEAN--
CLEANER THAN CATS.

AND THEY DON'T SMELL.

AND YOU CAN PICK UP
THEIR POOP.

IT'S LIKE RAISINS.

AND THEY DON'T MEOW
OR BARK.

AND THEY'RE SO SOFT
TO TOUCH.

WE JUST LOVE BUNNIES,
BOTH OF US.

I HAD COME TO HIM
WITH A BACKGROUND IN JOURNALISM,

BUT NOT A SPECIFIC STUDY
IN PHOTOGRAPHY.

SO NATURALLY
I PICKED UP A CAMERA.

I WANTED TO GO WITH HIM,
BE WITH HIM

AND EXPERIENCE THE ACTION
FOR MYSELF.

AND IT WAS EXCITING
IN THOSE DAYS,

BECAUSE IT WAS
THE VERY ZENITH

OF THE DISCO ERA.

AND DOES BIG DADDY
LOVE TO DANCE!

♪ DOESN'T TAKE MUCH
TO MAKE ME HAPPY ♪

♪ AND MAKE ME SMILE
WITH GLEE... ♪

EVERYBODY THAT CAME TO NEW YORK,

EVERY FAMOUS PERSON
HAD TO MAKE A TRIP TO STUDIO 54.

THERE IS NOTHING LIKE THAT
TODAY, YOU KNOW.

EVERY NIGHT EVERYONE ENDED UP
AT STUDIO 54.

♪ I LIKE THE WAY YOU MAKE ME
FEEL ABOUT YOU, BABY ♪

♪ WANT THE WHOLE WIDE WORLD
TO SEE ♪

♪ OH OH, YOU GOT
THE BEST OF MY LOVE... ♪

IT WAS THE BEGINNING OF THE EXPLOSION

OF CELEBRITY JOURNALISM.

STUDIO 54 CREATED
THE PLAYGROUND

FOR THESE PHOTOGRAPHS
TO BE TAKEN.

♪ ...YOU'VE GOT THE BEST
OF MY LOVE... ♪

I ACTUALLY DO THINK
THAT RON GALELLA UNLOCKED

THE LITTLE PANDORA'S BOX

OF THE WAY PEOPLE
PRESENTED THEMSELVES.

HE CAUGHT PEOPLE
COMING OUT OF STUDIO 54

AFTER PARTICULARLY
FESTIVE NIGHTS,

STILL ATTRACTIVE
BUT WASTED AT THE SAME TIME.

HE GAVE SOMETHING THAT
THESE PEOPLE DID NOT WANT

TO PRESENT
TO THE PUBLIC.

DO YOU EVER THINK THAT MAYBE
YOU'RE FEEDING AN APPETITE

THAT SHOULDN'T BE FED WHEN YOU
GET SOME OF THESE PICTURES?

EVERY NEWSPAPER
HAS A CELEBRITY COLUMN, A GOSSIP COLUMN.

- A PEOPLE COLUMN-- SURE.
- IT REALLY BECAME--

AT ONE TIME IT WASN'T THAT WAY.
I'VE BEEN IN THE BUSINESS 20 YEARS.

WHO ARE THE TOUGH ONES TO GET?
WHO ARE THE REAL TOUGHIES?

- BRANDO.
- BRANDO.

AND WE'RE LOOKING
FOR BRANDO.

AND BRANDO IS
RIGHT HERE.

WE HAVE ABOUT EIGHT BOXES
OF BRANDO.

HE'S A BIG BIG MAN,
MORE THAN PHYSICAL.

I'M GOING TO BRING
THESE OUT TO SHOW YOU.

MARLON BRANDO.

DICK CAVETT HAD A SHOW

IN NEW YORK
ON 58th STREET.

IN THE PAPER
IT'S LISTED--

MARLON BRANDO
IS GONNA BE ON.

WHEN I HEARD HE WAS GONNA DO IT,

I WAS THRILLED.
YOU CAN IMAGINE,

I MEAN, REALLY THRILLED.
IN A BUSINESS

WHERE EVERYONE'S EXCITED
ABOUT EVERYTHING

AND THRILLED ABOUT
EVERYTHING,

I WAS BOTH EXCITED AND
THRILLED GENUINELY

AND I COULD HARDLY
STAND IT.

NATURALLY I WANTED
PICTURES OF BRANDO.

HE WAS SORT OF RECLUSIVE
AT THAT TIME,

VERY PRIVATE ON TAHITI--
THE ISLAND THAT HE WAS AT.

RON TOLD ME
THAT HE WAS

GOING TO PHOTOGRAPH
MARLON BRANDO.

AND I SAID,
"RON, I'D LOVE TO SEE WHAT YOU DID."

I DIDN'T ASSIGN
HIM TO IT, BUT I SAID, LOOKING FOR A FREEBIE,

"YOU DO IT
AND I'M HAPPY TO LOOK AT IT. I'D REALLY LIKE TO."

MARLON BRANDO AS A CELEBRITY
WAS NOT A VERY NICE GUY.

HE NEVER LIKED PICTURES,
THAT DAY WITH GALELLA OR ANY OTHER DAY.

HE WAS A NASTY PIECE OF SHIT,
A NASTY MAN.

JUST WAS, YOU KNOW.

BRANDO WAS GOING TO BE
AT 5:00 AT THAT STUDIO.

I WENT EARLY, 12:00 NOON,
TO TRY TO GET INFORMATION.

"YOU KNOW ANYTHING ABOUT
BRANDO COMING IN?"

"NO NO NO NO NO."

LEAVING THE BUILDING--
THERE'S A LIMO DRIVER.

I ASKED THE CHAUFFEUR,
"YOU KNOW ANYTHING ABOUT BRANDO?"

"YES, HE'S COMING IN
BY HELICOPTER."

THAT'S ALL
I HAD TO KNOW.

HE HAD AWAKENED
THAT MORNING

HAVING MISSED THE PLANE
TO NEW YORK

THAT HE HAD FORGOTTEN HE WAS
SUPPOSED TO BE ON.

TWO HOURS
BEFORE TAPE TIME

NOBODY KNEW
WHERE HE WAS.

I GOT BRANDO COMING OUT OF THE HELICOPTER

AND THEN A FEW SHOTS
GOING INTO HIS LIMOUSINE.

AND THEN I RACED
TO THE STUDIO

TO GET HIM THERE,
ARRIVING.

BUT IT WAS IMPOSSIBLE
TO GET ANY GOOD PICTURES

BECAUSE IT WAS
WALL-TO-WALL

FANS AND
PHOTOGRAPHERS.

HOW MUCH OF WHAT'S
BEEN WRITTEN ABOUT YOU CAN BE TRUSTED?

THERE ARE
A COUPLE OF BOOKS. CAN WE TRUST THOSE?

AND IF NOT, HOW DO THEY
GET AWAY WITH IT?

I DON'T THINK IT'S WORTH
GOING INTO. I MEAN--

ON THEIR PART OR MINE?

NEWS IS BUSINESS.
AND PEOPLE SELL NEWS.

AND UNFORTUNATELY
PEOPLE IN MY POSITION,

PEOPLE IN THE PUBLIC EYE,

ARE SELLABLE COMMODITIES.

BUT THEY'RE NOT ANY DIFFERENT
THAN KLEENEX

OR DIAL SOAP
OR ANYTHING ELSE.

AND SO IF WE, YOU KNOW,
FIND SOMETHING OUT

ABOUT YOUR SEX LIFE

OR SOMETHING THAT YOU DO
WITH YOUR FINGERNAILS

AFTER YOU CUT THEM OFF--

SO WE DID THE SHOW AND HE SAID,

"DO YOU WANT TO GO DOWN
TO CHINATOWN?"

THERE WAS AN OLD RESTAURANT
HE WAS GOING TO TRY TO FIND.

SO WE HOPPED
IN THE CAR,

GETTING PAST RON GALELLA
AND SOME OTHERS OUT FRONT.

I WAS PREPARED

TO FOLLOW THE LIMOUSINE,
WHICH I DID.

AND THE ONLY PERSON
I ALLOWED IN MY CAR

WAS PAUL SCHMULBAUCH.

WE FOLLOWED HIM.
THERE WAS NOBODY ELSE

FOLLOWING HIM
EXCEPT ME AND HIM.

ABOUT THREE BLOCKS INTO OUR RIDE

THE DRIVER SAID,
"RON GALELLA'S FOLLOWING US."

TO BE A GOOD PAPARAZZO, YOU HAVE TO RACE

TO BEAT THE STAR
TO THEIR DESTINATION.

SO YOU MUST BE THERE

ON THE SIDEWALK
FOR THEIR ARRIVAL.

I SPENT A LOT OF TIME
IN RON'S CAR DRIVING AROUND.

AND OFTENTIMES
WE WERE CHASING CELEBRITIES.

SO WE WERE ON THESE
HIGH-SPEED CHASES,

GOING THROUGH RED LIGHTS.
AND IT WAS HAIR-RAISING.

RON'S A WILD MAN
BEHIND THE WHEEL.

WHAT I CALL THE PAPARAZZI LANE

IS THE RIGHT-HAND
TURN LANE.

BUT I USE THAT LANE
TO PASS ALL THE CARS.

NOW I'M GOING TO DO
A PAPARAZZI-- WATCH.

OH SHIT.

HE DOES THE SAME THING
IN A BUFFET LINE TOO.

HE CUTS RIGHT IN FRONT
OF EVERYBODY.

SOMEHOW RON FOUND US

AS WE GOT OUT
IN CHINATOWN.

MR. BRANDO SAID TO ME,

"WHICH ONE IS GALELLA?

KEEP THE SAME EXPRESSION
ON YOUR FACE.

HE'LL GET TIRED OF TAKING
THE SAME PICTURE."

SO WE DID THAT
FOR A WHILE.

AND WE START SHOOTING.
IT GOES ON FOR A BLOCK OR TWO--

THE SAME PICTURE
OVER AND OVER AGAIN.

MARLON LOOKS LIKE

SOME SORT OF MONGOL ASSASSIN
FROM THE 13th CENTURY.

AND I LOOK LIKE

WHAT'S KNOWN AS
A BIT OF ROUGH TRADE.

I TOOK ABOUT 10 SHOTS,

AND THEN BRANDO CALLS ME OVER
AND HE SAYS...

"AREN'T YOU TIRED OF TAKING

THE SAME PICTURE
ALL THE TIME?"

AND NEITHER OF US
UNDERSTOOD HIM.

AND RON SAID,
"WHAT'D YOU SAY?" AND LEANED IN A LITTLE.

"WHAT ELSE YOU WANT YOU DON'T ALREADY HAVE?"

IN HIS RASPY VOICE.

AND HE SAYS, "HEY, MARLON, TAKE THOSE SUNGLASSES OFF,"

IN HIS USUAL POLITE WAY,
OF COURSE.

BRANDO DIDN'T ANSWER HIM.
HE JUST REARED BACK, AND ONE PUNCH.

WHAM!

KNOCKED OUT FIVE TEETH.

BLOOD GUSHING
OUT OF MY MOUTH, I PUT MY HANDKERCHIEF ON MY MOUTH.

AND I LANDED
IN BELLEVUE HOSPITAL.

WHO BELIEVES MARLON BRANDO OVERREACTED?

WHO BELIEVES THAT WAS
AN APPROPRIATE RESPONSE TO RON GALELLA?

RON COULDN'T FIGHT BACK.
HE HAD ALL HIS CAMERAS ON HIM.

AND I SAID,
"PAUL, GET IN THE CAR."

PAUL WAS LIKE,
WITH HIS MOUTH OPEN, DUMBFOUNDED.

AND WITH HIS CAMERA
HANGING FROM ITS STRAP

AND SORT OF SWINGING,
MISSING THE PICTURE OF HIS CAREER.

I SAID, "YOU MISSED
THE PICTURE."

AND HE GOT IN THE CAR
AND WE WENT TO BELLEVUE.

WHERE THEY REWIRED JAW
AND TRIED TO FIX HIS TEETH.

WHAT RAN THROUGH MY MIND WAS,

"THIS IS THE MOST THRILLING
MOMENT OF MY LIFE,

ONE OF THE MOST
VIOLENT

AND CERTAINLY
THE STUPIDEST."

I MEAN, I THOUGHT,
"WHAT THE HELL ARE YOU DOING?

YOU GET-- FIRST OF ALL,
YOU'RE MARLON BRANDO."

I'M ONLY THINKING
THESE THINGS, OF COURSE--

"YOU THINK YOU'RE GONNA
GET AWAY WITH THIS SHIT?"

HE TOLD ME
TO CALL HIS LAWYER, WHICH I DID.

HE GOT MY WIFE LINDA
ON THE PHONE

AND HE WAS MUMBLING
THAT HE WAS JUST HIT

AND THAT HE COULD HARDLY TALK,
AND "WHERE'S STUART?"

AND LINDA SAID,
AND WISELY SO,

"I THINK YOU OUGHT TO SEE
A DOCTOR IN A HOSPITAL

BEFORE YOU SEE
A LAWYER."

AND RON--
"ALL RIGHT, ALL RIGHT."

THE SAME NIGHT,
AFTER I'M STITCHED,

I WENT TO THE SHOW CLUB--
AN EVENT AT THE SHOW CLUB.

YEAH, THAT SHOWS YOU
HOW STRONG I AM.

THIS THING WAS JUST--

IT DIDN'T HURT REALLY,
YOU KNOW.

NOVOCAINE WAS STILL IN.

I GOT THIS CALL
THE NEXT MORNING

AND, YOU KNOW, HE SAID,

"I'M RON. IT'S RON GALELLA."
"WHO IS IT?"

"JOHN, I CAN'T TALK TOO WELL
BECAUSE MY JAW'S BROKEN.

I'M SORRY TO BE LATE,

BUT I'LL COME OVER
LATER THIS MORNING."

WE SUED MARLON BRANDO.
MARLON BRANDO'S DEPOSITION

WAS LIKE SEEING
A MARLON BRANDO MOVIE.

YOU COULDN'T UNDERSTAND
A WORD HE SAID.

IT WAS BIZARRE.

WE COULD ASK THE QUESTION,
AND THE ANSWER--

WE WOULD LOOK AT EACH OTHER
AND WOULDN'T KNOW WHAT HE SAID.

AND WE'D SAY TO THE REPORTER,
"READ IT BACK."

AND SHE WOULD LOOK AT US
AND WOULDN'T KNOW WHAT TO-- NO ONE KNEW WHAT HE SAID.

HE OFFERED A SETTLEMENT
OF $40,000.

OUR INSTINCT
WAS TO SAY NO

AND TRY TO INCREASE
UPON IT.

WE CALLED RON

AND BEFORE
THE $40,000 CAME OUT, RON SAID YES.

BECAUSE, AGAIN, RON SAID,
"THAT'S NOT WHAT I'M ABOUT.

IT'S NOT ABOUT THE LAWSUIT
TO GET THE MONEY.

WHATEVER.
THAT'S FAIR. THAT'S FINE. LET ME GET ON WITH IT.

IT'S JUST I DON'T WANT
ANYONE TO THINK

THEY CAN GO AROUND
PUNCHING ME

IF I'M TAKING THEIR PICTURE,
AND THAT'S WHAT I--

GET THAT STORY OUT,
NOT THE MONEY."

HOWEVER, HE'LL GLADLY
TELL YOU

WHENEVER HE SPEAKS ABOUT IT
THAT WE TOOK A FEE.

THE LAWYERS OF COURSE
GOT 1/3.

THE LAWYERS GOT 1/3.

MY LAWYERS GOT 1/3.

THE LAWYERS GOT 1/3.

I GOT $27,000,
WHICH IS 2/3.

IT ALL WENT OT THE REPAIRS
OF MY CAPS,

WHICH TOOK THREE TIMES
TO GET IT RIGHT.

A YEAR LATER
HE HAD A PRESS CONFERENCE IN NEW YORK.

OF COURSE
I WAS NOT INVITED,

BUT I WAS THERE
IN FRONT OF THE PRESS ROOM

PREPARED WITH A HELMET.

RON HAS A SENSE OF HUMOR--

A THING SOME OF HIS
COLLEAGUES LACK.

PAPARAZZO SUPERSTAR.

HIS TACTICS ARE DESPICABLE.
I THINK OF HIM AS A STALKER.

I THINK THEY'RE
LEGAL STALKERS.

YOU CAN TAKE
THE FIRST AMENDMENT

TO ITS FURTHEST POINT

AND YOU HAVE RON GALELLA
SITTING THERE PROTECTED BY IT.

WELL, THERE'S CERTAINLY
A FIRST AMENDMENT ISSUE

SURROUNDING
WHAT PAPARAZZI DO.

PAPARAZZI PLAY
A NEWS-GATHERING FUNCTION.

THEY'RE ALLOWED
TO USE THE STREETS

AS YOU AND I ARE.

THEY'RE ALLOWED
TO TAKE PHOTOGRAPHS.

THE HARD QUESTIONS ARISE
WHEN YOU ASK

"WELL, ARE THEY ALLOWED

TO TAKE A PICTURE
INTO MY HOME?

ARE THEY ALLOWED
TO GO UP TO MY CHILDREN

IF I'M A MOVIE STAR

AND START TALKING TO THEM
AND FOLLOW THEM AROUND

AND SOME OF THE THINGS
THAT WERE DONE

TO JACKIE KENNEDY,
FOR EXAMPLE?"

RON GALELLA WENT SO FAR
WITH THE LINE

THAT THERE'S HARDLY
A JUDGE,

HOWEVER DEDICATED
TO THE FIRST AMENDMENT,

WHO WOULDN'T FIND
SOMETHING HE DID

TO VIOLATE THE LAW.

FROM OUR PERSPECTIVE,
THE CARDS WERE STACKED AGAINST US.

AND WE KIND OF KNEW THAT
GOING IN.

YET A JUDGE--
AND KEEP IN MIND, NO JURY.

THIS CASE WAS GOING TO BE
DECIDED BY THE JUDGE.

YOU HAD A JUDGE
WHO WAS APPOINTED

BY HER LATE HUSBAND,
PRESIDENT KENNEDY.

SO WE KNEW
WE HAD A PROBLEM.

GALELLA HAD NO IDEA

THAT HE WAS WALKING INTO
A BUZZ SAW.

THE FIRST TWO WEEKS OF THE TRIAL

IT WAS BASICALLY
PRESENTATION

OF MULTIPLES MULTIPLES
AND MULTIPLES OF PHOTOGRAPHS

THAT RON TOOK
OF MRS. ONASSIS

AND THE INCIDENTS
AROUND THOSE PHOTOGRAPHS.

IT WAS A REMARKABLE MENU

OF THINGS
THAT GALELLA DID

TO GAIN ACCESS.

SHE WAS HAVING DINNER
IN A RESTAURANT.

HE JUMPED OUT
FROM BEHIND A COAT RACK--

A COAT RACK!

SHE WENT
TO THE THEATER.

HE WENT DOWN THE AISLE,
GOT HER IN HER SEAT.

HE WENT
INTO JOHN'S SCHOOL

TO SEE
THE CHRISTMAS PAGEANT.

HE TRIED TO GET HER IN JUXTAPOSITION

WITH THE SANTA CLAUS.

RON HAD HIRED A GUY,
DRESSED HIM AS SANTA

AND KEPT DOGGING HER
ALL THROUGHOUT THE DAY,

TRYING TO GET THIS MAN
IN THE SANTA CLAUS SUIT

TO STAND
NEXT TO JACKIE.

SHE DODGED HIM ALL DAY.

CELEBRITIES LIKE JACKIE

SEEM TO GET ANNOYED

THAT I'M AFTER THEM
TOO MUCH.

SO I PUT DISGUISES ON--

WIGS,
I HAVE MUSTACHES,

AFRO WIGS TOO I HAD.

IT WORKED SOMETIMES.

JACKIE HAD A MAID.

I GOT FRIENDLY WITH HER,

TOOK HER TO COFFEE

AND HAD A FEW DATES
WITH HER

TO GET INFORMATION
MAINLY.

FIRST OF ALL, SHE SAID

JACKIE HAS A WHOLE CLOSET
FULL OF THE MAGAZINES.

SEE, IN COURT JACKIE SAYS
THAT SHE DOESN'T COLLECT HER MAGAZINES,

BUT SHE DOES.

SHE ALSO GAVE ME TIPS

WHEN JACKIE'S GOING
TO THE HAIRDRESSER

OR TO HAVE
A FACIAL TREATMENT.

BUT ONE DAY

IN FRONT OF THE BUILDING
JACKIE APPEARED.

SHE SAW US.

GRETA WAS FIRED
A FEW DAYS LATER.

I FELT VERY BAD.

BUT I DON'T THINK
SHE LOVED THE JOB THAT MUCH.

THAT'S WHY SHE GAVE ME
THE TIPS.

HAS SHE EVER SAID ANYTHING TO YOU

WHEN SHE'S SEEN YOU
TAKING A PICTURE?

OH, YES.

ONCE AT THE AIRPORT,
SEPTEMBER, '69,

SHE SAYS TO
A NEW YORK CITY POLICEMAN,

"LOCK THIS MAN UP."

THAT'S ALL SHE'S EVER SAID?

- OH, SHE SAID OTHER THINGS.
- NEVER SAID HELLO TO YOU?

NO NO.

WHY DID I HAVE THE OBSESSION WITH JACKIE?

WHY?
I ANALYZED IT.

BECAUSE I HAD
NO GIRLFRIEND.

I WASN'T TIED DOWN,
MARRIED.

AND SHE WAS MY GIRLFRIEND
IN A WAY.

THIS WAS A PERSONAL RELATIONSHIP.

IT WAS A RELATIONSHIP
THAT WAS CONDUCTED

THROUGH THE CAMERA,

BUT IT WAS NEVERTHELESS
A PERSONAL RELATIONSHIP.

THAT'S JACKIE AT HER MOST FETCHING--

"DON'T TOUCH ME.
DON'T ASK ME ANY QUESTIONS.

DON'T FOLLOW ME."

HE REALLY CAPTURED
SOMETHING

THAT WAS VERY ELUSIVE
ABOUT HER.

HE LOVED HER.

AND HE LOVED HER CHILDREN.

AND I'M SURE
HE NEVER THOUGHT

THAT HE WAS PUTTING THEM
IN HARM'S WAY.

I DON'T THINK HE WOULD HAVE
LIKED THAT-- THE IDEA OF IT.

THEY MAY HAVE PERCEIVED
THAT THEY WERE IN HARM'S WAY,

BUT HE DIDN'T
FEEL THAT.

BOTH JACKIE AND RON

BENEFITED FROM THIS

"PUSH ME-PULL ME" THING.

MRS. ONASSIS,
ARE YOU PLEASED WITH THE WAY THE TRIAL

- IS GOING SO FAR?
- YES, I AM.

DO YOU FEEL THAT TODAY
WAS A TURNING POINT IN THIS TRIAL?

WELL, THERE ARE UPS AND DOWNS
IN EVERY TRIAL.

NOBODY GOES ALL THE WAY UP
OR GOES ALL THE WAY DOWN.

RON, ARE YOU DISAPPOINTED
BY WHAT HAPPENED TODAY ON THE STAND?

NO, NOT REALLY.

EVERY CASE HAS ITS UPS
AND DOWNS, YOU KNOW.

YOU MUST HAVE
HEARD THAT SOMEWHERE.

RON PRODUCED A CHRISTMAS CARD

AND HE SENT IT OUT TO PEOPLE
AS A JOKE.

THAT WAS MY GREETING CARD FOR THAT 1970.

I PUT SANTA
AS ARI ONASSIS.

I PUT A CIGAR IN HIS MOUTH,
DARK SUNGLASSES.

AND THIS SANTA CLAUS
LOOKED LIKE ARI

'CAUSE HE HAD
A BIG NOSE.

SANTA'S GIVING ME MONEY

BECAUSE ARI ATTEMPTED
TO PAY ME

TO SETTLE THE CASE.

I SENT THIS CARD
TO JACKIE.

MY LAWYER SAID THAT WAS
THE WORST THING THAT I DID.

WELL, JACKIE BROUGHT THIS UP
IN THE TRIAL.

IT WAS NOT GOOD FOR ME.
IT WAS BAD.

ANY REASONABLE PERSON

WOULD HAVE SEEN
THAT CARD

AS EXTORTION.
HE WAS SAYING,

"PAY ME OFF
AND I'LL STOP."

THEY MADE SUCH AN ISSUE
OUT OF IT DURING THE TRIAL

THAT RON STARTED READING INTO
HIS OWN CHRISTMAS CARD

MORE THAN WHAT WAS THERE.
AND FINALLY WHEN HE WAS ASKED

OUT OF PURE-- I MEAN,
JUST OUT OF FRUSTRATION,

THEY SAID TO HIM,
"DIDN'T YOU MEAN

THAT YOU WANTED A JOB
AND YOU WANTED A BRIBE

TO GET RID OF--
TO STOP SEEING HER?"

HE SAID, "YES."

TO HIM IT WAS AN ORDEAL.

AND I WOULD SAY TO HIM,
"RON, WHY?"

HE SAID, "NOW THEY'VE
STOPPED QUESTIONING ME. ISN'T THAT EASY?"

"BUT IT'S GONNA
WORK AGAINST YOU." HE SAID, "NO NO NO,

IT'LL NEVER WORK AGAINST ME.
WHAT I DO IS GOOD AND POSITIVE.

SO WE'LL GET RID OF
THIS PART OF THE QUESTIONING."

EVENTUALLY JUDGE COOPER

BECAME QUITE ANNOYED
WITH RON GALELLA

AND ADOPTED THE VIEW

THAT HE SHOULD BE KEPT
A DISTANCE AWAY.

MRS. JACQUELINE
KENNEDY ONASSIS

WON A CASE
IN FEDERAL COURT TODAY.

SHE GOT A PERMANENT INJUNCTION
AGAINST...

...FREELANCE PHOTOGRAPHER
RONALD GALELLA,

ORDERING HIM NOT TO GET
WITHIN 50 YARDS

OF JACQUELINE KENNEDY ONASSIS

OR WITHIN 75 YARDS
OF HER CHILDREN.

RON GALELLA WAS SEEN AS A VILLAIN.

I RECEIVED TELEPHONE CALLS

AFTER SOME OF MY REPORTS

DAMNING RON FOR WHAT
HE HAD BEEN DOING.

AS A MATTER OF FACT,
I RECEIVED A LETTER

FROM ONE VIEWER,
ADDRESSED TO RON GALELLA,

CARE OF
THE TELEVISION STATION--

"YOU ARE A RAT!

I PRAY THAT YOU WILL BE
REPAID BY GOD

THAT YOU GET PAID BACK

FOR THE MISERY
YOU ARE CAUSING

A WOMAN WHO HAS GONE
THROUGH HELL--

A HELL CAUSED
BY ANOTHER MANIAC LIKE YOU.

YOU ARE STUPID,
MONSTROUS AND SLIMY.

YOU SHOULD BE DEPORTED
TO AN ISLAND TO ROT!"

UNSIGNED.

WAS THAT THE PREVAILING
SENTIMENT AT THE TIME?

I DON'T KNOW IF IT WAS
AS VOCAL AS THIS,

BUT A LOT OF PEOPLE
WERE ANTI-RON GALELLA.

THIS IS MARVIN SCOTT
WITH THE STORY OF A PHOTOGRAPHER

WHOSE LENS HAS BEEN CAPPED
BY JACKIE ONASSIS.

NOW THE COURT ORDER SAYS
YOU'VE GOT TO SAY 100 YARDS FROM THE BUILDING

AND 50 YARDS
FROM MRS. ONASSIS AND HER CHILDREN.

- YES.
- DO YOU CARRY A TAPE MEASURE WITH YOU?

- NO.
- A YARD COUNTER?

NO, I DON'T.
I NEED A REFEREE.

DO YOU THINK YOU'LL BE
PHOTOGRAPHING HER AGAIN SOON?

I HOPE SO.

I HOPE THAT THIS COURT ORDER
IS OFF ME,

'CAUSE I WOULD LIKE
TO GET BACK

TO PHOTOGRAPHING
MY FAVORITE SUBJECT.

WHAT KIND OF HUMAN BEING DOES IT TAKE

TO PHOTOGRAPH PEOPLE
WHO DO NOT WANT TO BE PHOTOGRAPHED...

- THEY WANT TO BE PHOTOGRAPHED.
- ...WHETHER THEY'RE CELEBRITIES OR NOT?

- OH, THEY WANT TO BE.
- NO, THAT'S NOT NECESSARILY TRUE.

AND IT JUST DOESN'T
STOP HIM.

HE WILL DO ANYTHING
NECESSARY

TO GET THAT SHOT.

ANGELINE JOLIE
AND BRAD PITT

ARE THE NUMBER-ONE
HOT COUPLE.

SO I'LL GO AFTER THEM

LIKE I WENT AFTER
THE OLD-TIMERS.

I THINK WE'RE GOING
THIS WAY.

- RON GALELLA.
- OKAY.

ANGELINA! ANGIE!

I'M GONNA GO IN THE FRONT.
FUCK THIS.

- HI.
- HI.

I'M SORRY, YOU CAN'T
COME ANY CLOSER. - YEAH, OKAY.

YOU HAVE TO GO BACK.

RON GALELLA!

-RON IS THE MAN!
-YOU'RE GETTING KICKED OUT.

RON, GO INSIDE!

"DEAR BRAD AND ANGELINA,

DID YOU RECEIVE MY FEDEX
PRESS PACKAGE

WITH TWO OF MY BOOKS?

WHILE COVERING

THE 'CHANGELING'
SCREENING TONIGHT,

I WAS UNABLE TO MEET
BOTH OF YOU,

BUT I DID GET
SOME GOOD PICTURES.

WOULD YOU BE SO KIND
AS TO GIVE AN OPPORTUNITY

OF MEETING YOU
BEFORE YOU LEAVE TOWN?"

DOES THAT MAKE SENSE?
"MEETING WITH ME" I SHOULD SAY?

"I MEETING YOU," EH?

SHOULD I ADD ANYTHING?

"HOPE TO HEAR FROM YOU SOON,"
SOMETHING LIKE THAT?

WE KNOW THAT IF YOU WRITE A LETTER

TO BRAD PITT
AND ANGELINA JOLIE,

THE CHANCES OF THEM
EVER EVEN SEEING IT

IS ZERO.

THE CHANCES OF THEM
READING IT

IS BELOW ZERO.

AND THE CHANCES OF THEM
DOING ANYTHING

BASED UPON THAT LETTER
IS WAY BELOW ZERO.

SHOULD WE TRY TO PHONE?

BUT RON WILL STILL
WRITE A LETTER

TO BRAD PITT
AND ANGELINA JOLIE.

THAT'S WHAT GETS RON UP
IN THE MORNING.

THAT'S WHAT GETS HIM
IN HIS CAR,

GOING THROUGH
THE LINCOLN TUNNEL ONE MORE TIME

AND JUST DOING
WHAT HE DOES.

THESE RESTRICTIONS--
THE 100 YARDS

AND THE 75 YARDS
AND THE 50 YARDS--

ESSENTIALLY PUT RON
OUT OF BUSINESS.

I APPEALED THE DECISION.

AND THE APPEAL WAS OVER
IN 1975.

THE APPELLATE COURT SAID,

"EH, IN THE EXERCISE
OF DISCRETION

THAT WAS OVERKILL.

INSTEAD OF 150 YARDS,

I'LL DO 25'."

RON SAID, "I'M BACK IN BUSINESS."

AND HE STARTED TO SHOOT
JACQUELINE ONASSIS AND THE CHILDREN AGAIN.

JACKIE ONASSIS MADE

A VERY RARE VISIT
TO LOS ANGELES.

RON WAS THERE.

AND I KNEW SOMETHING WAS UP,
BECAUSE HE JUST WANTED TO MAKE SURE--

"ARE YOU GONNA BE THERE?"
"YES, I'M GONNA BE THERE."

AND I POSITIONED MYSELF
BY THE LIMOUSINE

AND I SHOT
TWO FRAMES OF IT.

THE FIRST FRAME--

THE FLASH DIDN'T GO OFF.
IT WASN'T RIGHT.

AND THE SECOND FRAME--
HE PULLS OUT THIS TAPE MEASURE.

HE MADE IT HIMSELF.
AND IT SAYS,

"KEEP YOUR DISTANCE.
25'."

AND RON IS LOOKING
WITH HIS BIG SMILE--

"JACKIE!"

♪ GET THE CAMERAS ROLLING

♪ GET THE ACTION GOING...

ARI ONASSIS DIED

AND HER PICTURES
BECAME IN DEMAND,

BECAUSE SHE WAS BEING
ESCORTED BY OTHER MEN

AND WE THOUGHT
THAT SHE MIGHT GET MARRIED AGAIN.

♪ ...MORE MORE MORE

♪ HOW DO YOU LIKE IT?
HOW DO YOU LIKE IT? ♪

♪ MORE MORE MORE

♪ HOW DO YOU LIKE IT?
HOW DO YOU LIKE IT? ♪

♪ MORE MORE MORE

♪ HOW DO YOU LIKE IT?
HOW DO YOU LIKE IT? ♪

THE FACT IS,
HIS BODY OF WORK

IS CERTAINLY NOT WONDERFUL
FROM A PHOTOGRAPHIC STANDPOINT.

IT'S WONDERFUL FROM
A SUBJECT STANDPOINT.

THIS ISN'T ONE OF
THE GREAT ONES.

IT'S A SNAPSHOT.

- I WOULD HAVE THROWN THIS AWAY.
- I KNOW YOU WOULD HAVE.

I'M JUST SAYING
I WOULD HAVE THROWN IT AWAY.

I CERTAINLY CAN LOOK THROUGH RON'S BOOK

AND BE, YOU KNOW,
QUITE IMPRESSED

WITH SOME OF THE MOMENTS,
IF YOU TAKE A SECOND LOOK AT THEM.

BUT IT'S THE SUBJECT
THAT ATTRACTS YOU,

NOT HIS PHOTOGRAPH
OF IT.

LET'S SAY ONE UNDERGROUND ROOM

WITH 18' LEAD WALLS

WAS THE ONLY
THING THAT SURVIVED IN THE YEAR 10,000,

AND THEY HAD RON GALELLA'S
3 MILLION PICTURES IN IT.

AND THE ARCHEOLOGISTS
FROM OUTER SPACE

WERE TO COME IN
AND FIND THIS,

AND THEY'D HAVE TO RECREATE
CIVILIZATION FROM THAT.

WOULD YOU RATHER HAVE THAT
OVER, LET'S SAY,

IF THEY'D FOUND
THE SAME THING

WITH WALKER EVANS
OR RICHARD AVEDON

OR TITIAN
OR LEONARDO DA VINCI?

THERE'S RINGO. THAT'S A GOOD PICTURE.

THAT PICTURE MAKES ME THINK, "GOD, I WISH I'D SHOT THAT."

THAT'S A VERY GOOD PICTURE.

HOW DO YOU FEEL
ABOUT RON GALELLA

GETTING INTO THE MUSEUM
OF MODERN ART?

WHICH GIVES HIM A CERTAIN
LEVEL OF CREDIBILITY

IN THE ART WORLD,
BECAUSE NOW--

I'M SURE IT'S BECAUSE
YOU LOOK AT WHAT'S BEING SHOT

DURING A PERIOD OF TIME,

WHAT REPRESENTS PHOTOGRAPHY,
YOU KNOW, IN CERTAIN DECADES.

I THINK WHAT'S GOING ON NOW
WITH CURATORS

WANTING RON'S WORK

FOR GALLERIES
ALL ACROSS THE WORLD--

WOW, THIS LOOKS FANTASTIC.

- -KNOWING THAT, HEY,

WHAT'S THE DIFFERENCE BETWEEN
ONE OF RON'S SHOTS

AND A WALKER EVANS PHOTO

THAT HE PHOTOGRAPHED
IN A NEW YORK CITY SUBWAY?

- HOW MANY DO YOU HAVE NOW?
- I THINK 100-- 100.

SO NOW 30 YEARS LATER

PEOPLE ARE EATING
THESE PICTURES UP.

FOR ME HE IS THE ONE.

HE IS AN ARTIST.
HE IS AN ICON.

HE'S THE POPE
OF PAPARAZZI.

HE INVENTED
KIND OF A NEW STYLE.

IT'S GOT ENERGY.

IT'S GOT LIFE IN IT,
HUMOR.

AS AN ARTIST,

I THINK YOU HAVE TO
KEEP ON PUSHING YOURSELF.

AND HE FOUND
THIS VEHICLE.

AND THE ONLY THING
THAT HE PUSHED HIMSELF TO DO

WAS DO MORE OF THE SAME
OF THAT.

SUMMER OF 1981--

I GOT A CALL FROM
DAVID McGOUGH.

I WAS AT HOME
IN YONKERS.

"OH, RON,
GET HERE QUICKLY.

JACKIE'S GOING
TO THE MOVIE THEATER."

JACKIE WAS THERE SEEING
THE FILM "DEATH IN VENICE."

SO RON JUMPED IN THE CAR
WITHOUT ME

AND THEY
PHOTOGRAPHED JACKIE

COMING OUT OF
THE THEATER

AND HAILING A CAB.

AND SURE ENOUGH, THE TAXICAB BROKE DOWN.

SO NOW JACKIE GETS
OUT OF THE CAB ON 8th AVENUE.

AND 8th AVENUE WAS
PRETTY SLEAZY BACK THEN.

SHE WALKED IN THE STREET, LOOKING FOR A CAB.

AND THIS PROLONGED
THE TAKE.

RON WAS VERY EXCITED.

YOU COULD TELL THAT SHE WAS
GETTING MORE AND MORE ANGRY

EVERY TIME
SHE HEARD HIS VOICE.

AND THEN SHE FINALLY
TURNED TO HIM AND SAID,

"YOU STAY AWAY
FROM ME

OR I'LL SEE YOU
IN COURT AGAIN."

I THINK SHE SAID--
MAY HAVE SAID THAT.

HE SAID,
"OH, JACKIE, I LOVE YOU."

HE WAS JUST HAPPY

THAT HIS PICTURE WAS
IN THE PAPER WITH JACKIE.

HE WAS THRILLED
ABOUT THAT.

AND THAT BECAME
EVIDENCE FOR HER

THAT HE INDEED HAD BROKEN
THE INJUNCTION.

JACQUELINE ONASSIS
LISTED HER GRIEVANCES

AGAINST ONE OF HER MOST
PERSISTENT FOLLOWERS TODAY--

PHOTOGRAPHER RON GALELLA.

CHARGES THAT HE VIOLATED A 1975 COURT ORDER

TO COME NO CLOSER THAN 25'
FROM MRS. ONASSIS.

JACQUELINE KENNEDY ONASSIS LOOKED ANXIOUS

TO RETURN TO FEDERAL
DISTRICT COURT

SO THAT SHE COULD GIVE
HER OWN TESTIMONY.

PHOTOGRAPHER RON GALELLA

WAS TOLD TODAY
BY A NEW YORK JUDGE

THAT IF HE EVER
DOES IT AGAIN,

HE'LL BE SENT TO JAIL
FOR SIX YEARS.

GALELLA TOLD THE JUDGE
HE'S CHOSEN

A NEW SUBJECT FOR HIS
PHOTOGRAPHIC PURSUIT.

PRINCESS GRACE, I DON'T KNOW

WHETHER YOU FOLLOWED
THE NEWS RECENTLY,

BUT WE HAVE A PHOTOGRAPHER
IN THIS COUNTRY CALLED RON GALELLA.

YES, I KNOW HIM VERY WELL.
IS HE HERE?

I HAVEN'T SEEN HIM TODAY YET.
HE'S SLIPPING.

RON HAS SAID THAT HE'S
UNDER COURT ORDERS NOW

TO SHOOT NO MORE PHOTOGRAPHS
OF MRS. ONASSIS

AND THAT YOU ARE NOW
HIS NEW NUMBER-ONE FAVORITE.

HOW DO YOU FEEL
ABOUT THAT?

SHOULD I LOCK THE DOOR SO THEY DON'T COME IN?

WE USUALLY LOCK THE DOOR IN THE DARKROOM.

OKAY, NEXT.

PLACE THE NEGATIVE.

LITERALLY ANYONE CAN BE A PAPARAZZO TODAY.

IT DOESN'T HAVE TO BE
GOOD QUALITY.

AND WE OPEN THE LENS.

AND WE FOCUS.

THE ACTUAL SKILL
OF BEING A PHOTOGRAPHER

HAS REALLY DESCENDED
COMPLETELY

TO THE POINT
WHERE IT'S UNNECESSARY.

THE SHORTSTOP

THAT STOPS
THE DEVELOPMENT.

OKAY, NOW I PUT
THE LIGHT ON.

THEN YOU LOOK
AND YOU SAY,

"WELL, MAYBE IT'S
A LITTLE LIGHT HERE."

I COULD DARKEN THAT.

SEE, IT'S A LITTLE
TOO LIGHT.

NO GOOD.

DARKEN IT.
THIS IS HOW YOU DARKEN IT.

WHEN I HEARD JACKIE DIED,

I WENT TO THE BUILDING,
1040 5th AVENUE,

BUT I DID NOT
SHOOT PICTURES.

IT WAS LIKE A MOURNING
FOR ME,

AND A SADNESS TO SEE
A GREAT ICONIC,

MY MOST FAMOUS SUBJECT

DEAD, YOU KNOW.

I DON'T THINK
SHE KNEW IT WAS ME.

THAT'S WHY SHE SMILED
A LITTLE.

I THINK IN THE END

SHE WAS MAYBE
POSING FOR HIM

MORE THAN WE KNOW.

SO SHE MUST HAVE HAD

A LITTLE FEELING
FOR RON.

WHETHER YOU LIKE IT OR NOT,

THERE ARE MANY MANY MORE
PHOTOGRAPHS PUBLISHED OF CELEBRITIES

THAN THERE ARE
OF FAMINE, WAR

OR ANY OF THE OTHER,
YOU KNOW, IMPORTANT THINGS

THAT ARE HAPPENING
AROUND THE PLANET.

COUNTED IN EITHER
DOLLAR TERMS

OR THE NUMBER OF IMAGES
SUPPLIED TO THE MEDIA,

THEY'RE PROBABLY
THE MOST IMPORTANT

PHOTOJOURNALISTS
ALIVE TODAY.

-IT WAS...
-A FASCINATING CASE.

LOOK AT ALL THE ATTENTION IT GOT--

THE COURTROOM
FULL OF REPORTERS.

- PEOPLE WAITING ON LINE.
- INCREDIBLE.

AND THE BEST PROOF IS
THAT HERE WE ARE,

35 YEARS LATER,
STILL DEBATING THE ISSUES.

AND IT'S BEEN TAUGHT
IN LAW SCHOOLS.

- IT'S BEEN A TEXTBOOK--
- I'D BE NAIVE TO--

AND THE CASE IS CITED
OVER AND OVER AGAIN.

- ABSOLUTELY RIGHT.
- OVER AND OVER AGAIN.

WHO'S FILMING HERE?

- "NOTORIOUS."
- NOTORIOUS B.I.G.

- YOU SHOULD KNOW THAT.
- ANY STARS?

HE'S THE PAPARAZZI.
YOU DON'T KNOW WHO THIS GUY IS?

ARE YOU KIDDING ME?

HE PHOTOGRAPHED JACKIE O
WHEN SHE DIED HERE. - THAT'S RIGHT.

I KNOW THAT.
I KNOW WHO YOU ARE. I'M IN SHOW BUSINESS.

I OUGHT TO KNOW.
THESE GUYS-- TELL THEM, "KNOW YOUR BUSINESS," RIGHT?

AND BRANDO KNOCKED
FIVE TEETH OUT OF MY JAW.

- WHO DID?
- MARLON BRANDO.

YEAH, RIGHT RIGHT,
I REMEMBER THAT.

HE PUNCHED YOU. WHY?
HE WAS A WISEASS, RIGHT? - YEAH YEAH.

WHAT DID YOU DO TO HIM?
YOU GOT IN HIS FACE?

HE GOT IN HIS FACE,
TOOK HIS PICTURE. - I TOOK HIS PICTURE.

- AND HE PUNCHED YOU?
- AND THEY TALK ABOUT SEAN PENN BEING A WISE GUY, RIGHT?

HE'S ANOTHER PRICK.

SO WHO'S THERE?
ANY BIG STARS?

ANGELA BASSETT.
SHE'S IN THERE.

- OH, RIGHT RIGHT.
- A COUPLE OF RAPPERS, MAYBE PUFFY.

OKAY, THANK YOU.

YOU HAVE TO LEARN
TO ASK QUESTIONS.

RON GALELLA SOMETIMES--

IN HIS CASE, HE DIDN'T DESERVE
THE FIRST AMENDMENT.

BUT EVEN WHEN HE DOES,
WE PROTECT HIM

MORE BECAUSE WE DON'T WANT
TO START PICKING AND CHOOSING

BETWEEN WHOM WE PROTECT
AND WHOM WE DON'T PROTECT.

SEE, THERE'S THE TENT.
THAT'S WHERE THE ARRIVALS ARE.

HE'S REALLY THE PRICE TAG

OF THE FIRST AMENDMENT.

TOOK MILLIONS OF PICTURES. THOUSANDS OF THEM

ARE HANGING IN MUSEUMS,
BUT SO WHAT, YOU KNOW?

RON GALELLA WILL GO DOWN
AS THIS OBSCENE,

BOTTOM-FEEDING SNAPSHOT

TABLOID SO-CALLED
JOURNALIST.

YOU JUST WAIT AND SEE.

WAIT 50 YEARS
AND CHECK IT OUT, ALL RIGHT?

- HI.
- HEY, RON.

THE KING IS HERE.

IT'S HARD TO SAY

WHETHER HE WILL
EVEN BE REMEMBERED IN 50 YEARS' TIME.

IN A WAY
IT DOESN'T REALLY MATTER,

BECAUSE RON'S LIFE

AND RON'S WORK

IS VERY MUCH
ABOUT THE NOW.

HE LOOKS SO FAMILIAR,

BUT I CAN'T REMEMBER
WHAT HIS NAME IS.

IT'S JOHN BELUSHI.

JOHN BELUSHI, THERE YOU GO.
THAT'S WHO THAT IS.

UH, I'M GONNA CHEAT
ON THIS ONE.

I DON'T KNOW
WHO THIS IS.

BUT IT SAYS
IT'S TYLER BURTON.

IT'S A BEAUTIFUL PHOTO.

I SHOWED PICTURES
THE OTHER DAY OF JUDY GARLAND.

HONEST TO CHRIST,
PEOPLE DIDN'T--

A LOT OF THEM
DIDN'T KNOW WHO SHE WAS.

THIS GUY--
I HAVE NO IDEA, NO.

- WHAT'S YOUR NAME?
- GALELLA, RON.

AND ON THIS SIDE WE HAVE
STEVE McQUEEN.

IS HE A DIRECTOR
OF SOME SORT?

IT'S CRAZY. IT'S JUST CRAZY.

WHEN I WAS DOING IT,
AND THE GREATEST STARS--

THERE WERE HARDLY
ANY PHOTOGRAPHERS AROUND.

GRACE KELLY.
I'M NOT SURE WHO THAT IS.

ANOTHER BEAUTIFUL GIRL--
BARDOT.

SHE LOOKS LIKE A MODEL.
IS SHE AN ACTRESS?

MY PICTURE-TAKING IS FINISHED.

THERE'S NO NEED FOR ME
TO SHOOT TODAY

BECAUSE THERE'S VERY LITTLE
TO BE SHOT.

THE ICONIC STARS
ARE GONE.

THAT'S THE GREATEST THING
IN MY LIFE,

IS TO SELL THESE PRINTS
AND MY BOOKS.

THERE ARE SO MANY BOOKS
THAT I WANT TO DO.

I THINK THIS IS
JACKIE ONASSIS AGAIN.

RIGHT?
LOOKS LIKE THE SAME PERSON.

JACKIE ONASSIS
AND BOBBY.

BOBBY KENNEDY?

WOW, YES.

WHAT I DO NOW-- IT'S THE HARVEST OF MY LIFE.

MILLIONS--
MILLIONS OF PICTURES.

I CAN'T COUNT THEM.
THERE'S MILLIONS.

♪ I'LL BE SEEING YOU

♪ IN ALL THE OLD
FAMILIAR PLACES ♪

♪ THAT THIS HEART OF MINE
EMBRACES ♪

♪ ALL DAY THROUGH

♪ IN THE SMALL CAFE

♪ THE PARK
ACROSS THE WAY ♪

♪ THE CHILDREN'S CAROUSEL

♪ THE CHESTNUT TREES

♪ THE WISHING WELL

♪ I'LL BE SEEING YOU

♪ IN EVERY LOVELY
SUMMER'S DAY ♪

♪ AND EVERYTHING
THAT'S LIGHT AND GAY ♪

♪ I'LL ALWAYS THINK
OF YOU THAT WAY ♪

♪ I'LL FIND YOU
IN THE MORNING SUN ♪

♪ AND WHEN THE NIGHT
IS NEW ♪

♪ I'LL BE LOOKING
AT THE MOON ♪

♪ BUT I'LL BE
SEEING YOU ♪

♪ I'LL BE SEEING YOU

♪ IN ALL THE OLD
FAMILIAR PLACES ♪

♪ THAT THIS HEART OF MINE
EMBRACES ♪

♪ ALL DAY THROUGH

♪ IN THE SMALL CAFE

♪ THE PARK
ACROSS THE WAY ♪

♪ THE CHILDREN'S CAROUSEL

♪ THE CHESTNUT TREE

♪ THE WISHING WELL

♪ I'LL BE SEEING YOU

♪ IN EVERY LOVELY
SUMMER'S DAY ♪

♪ AND EVERYTHING
THAT'S LIGHT AND GAY ♪

♪ I'LL ALWAYS THINK
OF YOU THAT WAY ♪

♪ I'LL FIND YOU
IN THE MORNING SUN ♪

♪ AND WHEN THE NIGHT
IS NEW ♪

♪ I'LL BE LOOKING
AT THE MOON ♪

♪ BUT I'LL BE
SEEING YOU. ♪

IT'S TOO HARD.

IT'S HARD.